This Lowry exhibition offers a contextual perspective that refutes the oft-used ‘twee’ tag, according to Serena Trowbridge.
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Probably one of the most popular exhibitions at the moment is “Lowry and the Painting of Modern Life” at Tate Britain. Lowry’s work has had an interesting reception, historically, I think: he is remarkably popular, appealing to a wide range of people, and this combined with his instantly recognisable style means that he can be looked down upon by art historians as perhaps not a serious artist, possibly a little bit twee. This exhibition does much to rectify that perception, I think, by contextualising Lowry’s work and emphasising its historical significance and Lowry’s own engagement with working-class life. The exhibition constructs Lowry as an artist of anti-sentiment, focussed on the reality of industrial life and urban people, and even a cursory glance at his paintings confirms this. Lowry saw art as a necessity for understanding and engaging with modern life, and there is no doubt that he relentlessly depicts…
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