'For every 100 people there are perhaps 10 who can think, and for every 10 who can think there is perhaps one who can see. In last Saturday's Financial Times (FT), Jackie Wullschlager wrote that the exhibition 'is the most radical and exciting re-evaluation of a British artist I have ever encountered, and a thrilling display of how paint conveys ideas, time, place – building a self-contained world at once absorbing and convincing in its relation to lived experience.'Īt Brantwood, on the shores of lake Coniston in our northern Lake District, we have the last residence of perhaps our most famous art critic John Ruskin, and the other week when I was there I read a quote from one of his essays in which he says something like (I can't remember the exact quote): Lowry a great artist? A provincial or folk artist? Or just a rent man who became a weekend painter? The reviewers on Radio Four's 'Saturday Review', last weekend, were scornful about Lowry accusing him of being repetitive of misanthropy of not being 'politically correct' with his uncomfortable picture 'The Cripples' of him not having progressed as an artist during his long life and of creating caricature figures. Lowry in his aim in his essay 'Six O' the Best Northern Artists', in the current issue of Northern Voices (NV14), to try to establish the existence of a 'Northern Aesthetic' in the North of England? How representative is Lawrence Stephen Lowry of our culture and civilisation? Clark and his American wife Anne Wagner? Was Christopher Draper right to use L.S. Lancashire Fair, Good Friday, Daisy Nook by Laurence Stephen Lowry HOW important is the new Tate Britain's exhibition 'Lowry & the Painting of Modern Life,' curated by the Marxist art historian T.J.
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