Despite my ambivalence to matchstick men and industrial landscapes, I have followed the press coverage of the exhibition with interest because of L S Lowry's dark and shameful secret. He loved Pre-Raphaelite art. Shocking. What's a nice modern artist like Lowry doing with a bluff old Victorian like Rossetti?
|Bandstand, Peel Park (1928)|
|Portrait of a woman L S Lowry|
|Possible Study for Sibylla Palmifera (1865) D G Rossetti|
|The Laurel (1862-4)|
|Portrait of a Lady (1860s)|
Lowry's possession of Rossetti ladies gained momentum in the 1960s as he was establishing himself as a successful artist. He purchased this image of Alexa Wilding in 1960...
|Alexa Wilding (1873)|
|Proserpine (sixth version 1873-77)|
|Morning Music (1864)|
|Head of a Girl (1866)|
|Tales of Sorrentino (c.1843)|
|Design for Benedict and Beatrice (1850)|
|The Return of Tibullus to Delia (1867 watercolour replica)|
|Annie Miller (1860)|
|Aspecta Medusa (1867)|
|Mrs William Morris (1870)|
For Lowry, Jane Morris seems to be the perfect Stunner. Despite his admitted 'revulsion' at the images, he had a fondness for her as he experienced her through the more 'portrait' aspects of Rossetti's art. He hung this sketch in his bedroom with his Burne-Jones sketch of a woman, and always felt that there was more emotion in Jane's face than in Burne-Jones' model.
|Lowry at the exhibition of his personal collection, 1977|
The Tate exhibition runs until 20th October and further details can be found here.
Further information about L S Lowry, including an exhibition on previously unseen work, can be found here.