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Lowry's depiction of the urban landscape during this period, and his treatment of the present work, is defined in Michael Howard's description of The Lake (1937; City of Salford Collection), as `Like a medieval manuscript painting, its dark upper margin reveals a sense of closure and unnatural luminosity that illuminates the distant, but ceaselessly active, town. The town hall, the civic buildings, the mines, factories and mills are caricaturally identified: activity is everywhere, the business of production unaware of its imminent dissolution. Industrial activity is seen as a parody of real purposeful activity, a means of filling the emptiness with noise and bustle to simulate a purposeful existence. This is the hub of the Waste Land, a dystopia, a bad place. The lake, at the empty centre of the painting, is home to rotting hulks, mute witnesses to fading industrial power; their commercial heyday has passed, and now they no longer bear goods but are the playthings of children. Around it stand small groups of anonymous, diminutive figures, redundant and acitivity-less; except for one, who turns and makes his way out of the picture space. The desolate shore is punctuated by palings and broken-down buildings like something left over from a gothic horror novel. Like the palings in the foreground, with their disturbing resemblance to gravestones, these are significant but peripheral details. It is the central expanse of milky white, opaque substance that commands attention and fills the centre with its emptiness, a fitting reposte to the useless activity depicted in the upper band of the picture. Here all is doomed to sink, fail and disappear. Lowry's painting stands against the many agendas for utopia attempted by the avant-garde years before the Second World War. Man's belief in the perfectibility of the world through reason, science and technology - in short, `progress' - has been found to be a sham.

Iron Works - L S Lowry RA

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Lowry's depiction of the urban landscape during this period, and his treatment of the present work, is defined in Michael Howard's description of The Lake (1937; City of Salford Collection), as `Like a medieval manuscript painting, its dark upper margin reveals a sense of closure and unnatural luminosity that illuminates the distant, but ceaselessly active, town. The town hall, the civic buildings, the mines, factories and mills are caricaturally identified: activity is everywhere, the business of production unaware of its imminent dissolution. Industrial activity is seen as a parody of real purposeful activity, a means of filling the emptiness with noise and bustle to simulate a purposeful existence. This is the hub of the Waste Land, a dystopia, a bad place. The lake, at the empty centre of the painting, is home to rotting hulks, mute witnesses to fading industrial power; their commercial heyday has passed, and now they no longer bear goods but are the playthings of children. Around it stand small groups of anonymous, diminutive figures, redundant and acitivity-less; except for one, who turns and makes his way out of the picture space. The desolate shore is punctuated by palings and broken-down buildings like something left over from a gothic horror novel. Like the palings in the foreground, with their disturbing resemblance to gravestones, these are significant but peripheral details. It is the central expanse of milky white, opaque substance that commands attention and fills the centre with its emptiness, a fitting reposte to the useless activity depicted in the upper band of the picture. Here all is doomed to sink, fail and disappear. Lowry's painting stands against the many agendas for utopia attempted by the avant-garde years before the Second World War. Man's belief in the perfectibility of the world through reason, science and technology - in short, `progress' - has been found to be a sham.

Laurence Stephen Lowry is famous for painting scenes of life in the industrial districts of North West England in the mid-20th century. L. S. Lowry developed a distinctive style of painting and is best known for his urban landscapes peopled with human figures often referred to as "matchstick men". Lowry painted mysterious un-populated landscapes, brooding portraits and the unpublished "marionette" works, which were only found after his death.

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