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Lowry and the Painting of Modern Life (paperback)

by Clark and Wagner item code: 13005
£19.99

‘This smart volume accompanying Tate’s recent and radical re-evaluation of Lowry is delightfully atypical of exhibition catalogues: though extensively illustrated, it is compact, readable and intellectually fresh... A perfect, clever stocking-filler.’ FT Books of the Year list.

This handbag sized book will accompany a long overdue retrospective of the much-loved British painter L.S. Lowry (1887–1976), the first show held by a public institution in London since the artist’s death. Bringing together around eighty works, the aim is to reassess Lowry’s contribution as part of a wider art history and to argue for his achievement as Britain’s pre-eminent painter of the industrial city.

Although Lowry’s most frequent subjects were drawn from a pattern of streets he walked daily, he is not straightforwardly a ‘realist’ artist nor really an ‘impressionist’ artist. For Lowry modern painting needed a mode of observation capable of representing the remaining rituals of public life: football matches and protest marches, evictions and fist-fights, workers going to and from the mill. Without his pictures, Britain would arguably lack an account in paint of the experiences of the twentieth-century working class.

Lowry and the Painting of Modern Life will bring together the artist’s late urban panoramas, where a leap up to ‘history painting’ size indicates the measure of his final ambition.

Written and curated by the eminent art historians T.J. Clark and Anne Wagner, this new study promises to be the most fresh and incisive approach yet to the study of the one of the nation’s most popular painters.

  • Author T.J Clark and Anne Wagner
  • Artist L.S. Lowry
  • Pages 192pp
  • Number of illustrations 90 colour and 20 b&w
  • Dimensions 218 x 180mm
  • Paperback yes
  • Exhibition Lowry and the Painting of Modern Life
  • Publisher Tate Publishing
  • ISBN No. 978 1 84976 122 2

Write a review


  • Rated 5 out of 5

    His view gives me the impression of an observer from a window; the details doesn’t matter but the quantity of people at the view matters. And the observer? I suppose that can be seen to his view portraits.

    Apostolis Ritsos

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