In 1954, Auerbach took over the studio of his friend and fellow painter, Leon Kossoff, in Camden Town, and the present work typifies his ongoing interest in depicting London scenes. Robert Hughes comments, 'He had to free his colour, and from 1965 onwards he did so through a sequence of landscapes, some of Mornington Crescent near his studio, others, fuller of nature, at Primrose Hill. Townscape and landscape did not stare back. They did not require, as the model did, a mutual relationship. They were perhaps open to invention in a different way. You did not need to paint a townscape devotionally. It fostered a different sort of curiosity. Certainly it allowed - in fact, demanded - a different way of working. Auerbach could not set his easel up en plein air and start working under the eyes of people in the street or the park in what he called 'the ludicrous way I do work'. Instead he made sketches outside and worked up the painting from them in his studio' (see R. Hughes, Frank Auerbach, London, 1990, p. 160).