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Lot Essay
Vaughan was demobilised on 26 March 1946, but he had no clear plans, 'As the time of my release approaches I seem to grow weaker and more afraid. Afraid of being free again. Afraid of the world and living in it ... I shall try to continue to develop as an artist while still keeping open one or two lines or compromise retreat - teaching, writing etc. In between the inevitable moments of panic accompanying this change I am aware of a certain quiet confidence that I know the sort of life I want to live' (see M. Yorke, Keith Vaughan His Life and Work, London, 1990, pp. 111-112).
The present work was painted in this year of demobilisation and shows how clearly Vaughan's works are rooted in an observed reality. The coastal landscape and lighthouse are clearly represented. Indeed, Vaughan never saw himself as an entirely abstract painter, 'for me painting which has not got a representational element in it hardly goes beyond the point of design' (see N. Barber, Conversations with Painters, London, 1954, p. 80).
The present work was painted in this year of demobilisation and shows how clearly Vaughan's works are rooted in an observed reality. The coastal landscape and lighthouse are clearly represented. Indeed, Vaughan never saw himself as an entirely abstract painter, 'for me painting which has not got a representational element in it hardly goes beyond the point of design' (see N. Barber, Conversations with Painters, London, 1954, p. 80).