L. S.
Lowry's vision of the post-industrial landscape of Salford and Manchester is a
dominant and distinctive feature of many of his better-known paintings: bleak
but beautifully painted, it is unflinchingly direct, almost brutal - and yet
engagingly human in its evocation of time and place.
The largest
ever assembled collection of his paintings is currently on show at the
eponymous Lowry Centre at Salford Quays where I saw it before it moves to the
Tate in London. I travelled in a smart, new yellow and grey tram which, from
its elevated track, gave unimpeded views of tidied-up canals, newly-built
apartment blocks, shimmering glass office buildings and small but determinedly
allocated patches of greenery - all so different from what the artist saw in
his time. Even the Lowry building itself, a quirky assemblage of glass, steel
and aluminium amalgamated in such a way as to be striking rather than pleasing
to the eye, would be alien to him. He died relatively recently (1976) but there
were no buildings like it in, or near, his home town during his lifetime.
But the exhibition
is an opportunity to appreciate that Lowry's artistic scope was greater than is
popularly perceived. There are bewitching seascapes, haunting portraits and,
later, some strangely abstract landscapes. We learn that, having lived alone
for 40 years, he acknowledged that a sense of loneliness pervades much of his
work. There are even a few erotic pictures - again unsurprising, given his bachelor
status and the collection of pre-Raphaelite portraits of luscious women that
adorned his bedroom walls. What is tantalising, however, is the implication
that he made many more erotic pictures and that his estate has edited the
display and restricted what we may see. It would be interesting (if a little prurient)
to see more.
Another 'edited'
character currently in the spotlight is Patrick Leigh Fermor, a self-taught ,
self-made and remarkably brave adventurer and author. He set out from London at
the age of 18 and walked across Europe to Constantinople, with barely any money
and just a few introductions: and that was just the start of many adventures
which included war-time heroics, more travelling and a distinguished writing
career. Fermor died last year at the age of 96. The author of his biography had
been contracted to write it some 15 years earlier but enjoined not to publish
until after his death in order, it appears, to preserve a few reputations. Given
his prolific sexual encounters this was probably a very practical way of
avoiding a few 'upsets'. Perhaps more will
be revealed in the future.
By the time
I got around to reading A Time of Gifts,
his dashing, romantic account of his epic first journey, I was past the age at
which I might have been persuaded to emulate his daredevil approach to life. Given
my track record I would never have done so anyway - but that didn't stop me
being envious of Fermor's all-or-nothing, gung-ho assault on life which brought
him riches in the form of diverse experience, risky travel adventures, exotic
relationships and lovers galore. These experiences he converted into memorable
writing which delivers a vivid account of the recent past.
Mr. Lowry,
on the other hand, led a life which I would not have relished for myself: he
lived with his mum until she died, then lived the rest of his life alone; he
never travelled abroad and he continued to be employed as a rent collector even
after his paintings began to sell. Yet his imagination transcended the everyday
and enabled him to escape from the temporal hum-drum. His doleful, detailed imagery
evokes people and places as memorably as does the writing of Fermor.
When, on a
wet Wednesday, I regard the work of these two men it reassures me to note that
whether daily life is dull or exotic matters not so much as the expression of
it.
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