Flat Lowry

When I go to art galleries, and afterwards pop into the gift shop, I can never find postcards of the pictures I really liked. So I carry a ghost gallery in my head: Ed and Melody by Robert Mapplethorpe (1988); Stanley Spencer’s The Dustman (1934)…

At the Lowry in Salford, I twisted the postcard display in vain – because the images I liked weren’t the ‘matchstalk men’ that come to mind when we think of L. S. Lowry:

Image result for lowry match
L. S. Lowry, ‘Going to the Match’ (1928)

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‘Art’: The Mystery of the Bathing Boys

In her essay ‘Art’, Smith follows a nun and her school-group round the National Gallery. ‘How do people see pictures?’ she wonders. ‘It was such a hot afternoon, the question is such a lazy one’. Smith eavesdrops; she lolls; she daydreams. She pores over the catalogue:

Catalogues, as you see, have a language of their own, terse and evocative: “S. John, centre, facing right, wearing a lavender-grey dress. Left: S. Francis, profile right, S. Lawrence, in grey, with rose orange collar… All seated full-length on a marble seat…along the bottom of the picture a little hedge of herbs…” (‘Art’ in London Guyed (London, 1938), p. 159)

Fra Filippo Lippi, 'Seven Saints', c. 1450-3, National Gallery
Fra Filippo Lippi, ‘Seven Saints’, c. 1450-3, National Gallery. See the ‘little hedge of herbs’?

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