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Brighton From The Station Yard 15-john-piper-brighton-from-the-station-road.jpg

Brighton From The Station Yard

Item Code: JP-15-u
Hand coloured etching with aquatint
Brighton Aquatints
Cat Rais No
Levinson 15
Edition Size
Date of Work
Height (cm)
Width (cm)
From the Brighton Aquatints suite. Hand coloured edition of 55.

Notes by the artist: Brighton from the Station Yard.

This is the first view of Brighton which many visitors get. Perhaps after a stuffy train journey it is disappointing not to find oneself delivered right on the beach, but the view of Brighton's villas climbing the further hill by Kemp Town, beyond the gay, jumbled foreground is a compensation. there are other English towns to be seen from neighbouring hills spreading out in the same semi-ordered way, but in few others is the air so clear, the whole look of the place so sharp and clean. Quite absent is the midland haze or the foliaged softness of the West. The only haze that Brighton knows is the early-morning mist, or the all-obscuring sea-fog. Even critical William Cobbett, when he got over his megrims about the Pavilion, was complimentary bout the air and the houses, and said generously of the town that it 'certainly surpassed in beauty all other towns in the world. In this picture, the street in the midledistance leads down towards the Pavilion. The white church (St Peter's) was built by Barry. (A later and bigger building of his was the London houses of Parliament.)
John Piper PortraitJohn Piper was born at Epsom in Surrey, 1903. Following his father’s wishes, he spent 5 years in the family law firm before pursuing art, firstly at Richmond School of Art and then at the Royal College of Art. In the 1930s Piper exhibited abstract pictures and constructions, then reverted to creating landscape and architectural images, developing the picturesque style that features in his later work.

Piper experimented with printmaking from as early as 1923 when he produced four wood engravings. Piper’s prints embody his love of Britain through their depiction of its art, architecture and topography. However frequently underpinning their design, as the artist Rigby Graham has indicated, are the elements of collage, construction and assemblage that featured in his modernist work of the early 1930s.
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