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拍品專文
The unself-consciousness of children intrigued Lowry and their presence is a recurring theme in Lowry's work. Coming out of School, was one of the first paintings by the artist to be purchased for a public collection when it was bought by the Duveen Fund for the Tate Gallery in 1927. In 1967 the same painting was used on a 1s 6d stamp.
The present work dates from 1963 and is executed in Lowry's later style in which he focussed increasingly on figures more or less in physical isolation from any identifiable setting. Lowry's skill as a draughtsman is demonstrated here as he reduces the necessary schemata to define a comprehensible, realistic space, to a minimum. Classical references seem to be inherent in this work as the railings and chimneys are arranged in a way which evokes the temples of ancient Greece. Further, the division of space and arrangement of the composition seems to rely, perhaps intuitively, upon renaissance theory of the golden section - used to achieve the desired harmony and balance to an image in key with the art of classical times. The only motion in the work is the childen who run across the foreground from right to left, who are free spirits contained between these railings both physically and visually. The present work is an image which distills the essence of the swarming masses of Lowry's industrial landscape. The viewer is provided with an upfront, focussed vignette of city life.
Lowry once wrote 'I see lots of people everywhere, myself, one lot going one way and the other lot going the opposite way as a rule' (see S. Rohde, L.S.Lowry, A Biography, Salford, 1999, p. 318).
The present work dates from 1963 and is executed in Lowry's later style in which he focussed increasingly on figures more or less in physical isolation from any identifiable setting. Lowry's skill as a draughtsman is demonstrated here as he reduces the necessary schemata to define a comprehensible, realistic space, to a minimum. Classical references seem to be inherent in this work as the railings and chimneys are arranged in a way which evokes the temples of ancient Greece. Further, the division of space and arrangement of the composition seems to rely, perhaps intuitively, upon renaissance theory of the golden section - used to achieve the desired harmony and balance to an image in key with the art of classical times. The only motion in the work is the childen who run across the foreground from right to left, who are free spirits contained between these railings both physically and visually. The present work is an image which distills the essence of the swarming masses of Lowry's industrial landscape. The viewer is provided with an upfront, focussed vignette of city life.
Lowry once wrote 'I see lots of people everywhere, myself, one lot going one way and the other lot going the opposite way as a rule' (see S. Rohde, L.S.Lowry, A Biography, Salford, 1999, p. 318).