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Lawrence Stephen Lowry
1887 - 1976, British
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Lawrence Stephen Lowry was born in Manchester, where he worked as a clerk from 1903 and studied at private classes under Reginald Barber. From 1905 to 1915 he was an evening pupil at Manchester College of Art, working under Adolphe Valette, and from 1907 to 1915 he studied in private classes with William Fitz. In 1910 he joined the Pall Mall Property Company where he continued to work until his retirement in 1952. Between 1915 and 1925 he attended classes at Salford School of Art under Bernard D. Taylor and in 1918 he was accepted for the life class at Manchester Academy of Fine Arts.

He first exhibited in 1919 in the Annual Exhibition of the Manchester Academy of Fine Art and in the 1920’s he showed widely; at the Paris Salon, with the NEAC from 1927 in Dublin and Manchester. In 1930 he held a solo exhibition of drawings at the Round House, Manchester, and in 1939 there was a one-man exhibition of paintings at the Reid & Lefevre Gallery, London, where he subsequently held 15 solo exhibitions between 1945 and 1979. He exhibited at the Royal Academy from 1939 (ARA from 1855, RA from 1962) and with the RBA from 193 (member 1934) and he was elected a member of the MAFA in 1934 and LG in 1948. Retrospective exhibitions of his work include those at Manchester City Art Gallery, 1959, and at the RA, London, 1976, and his work is represented in many public collections including the Tate Gallery, and The Metropolitan Museum of Art New York. In 1953 he was appointed Official Artist at the Coronation, and he was awarded an Honorary D. Lit by the Universities of Salford and Liverpool in 1975.
His early works owe something to an anglicized form of impressionism, while his industrial scenes, far from being naive or primitive show careful observation and character. One can also see in his works the influence of Valette and some of the characteristics of the Camden Town School. Lowry is best known for his paintings of industrial towns occupied by many slight, dark-toned and simplified figures painted without shadows, his work (including his imaginary portraits) is often melancholy but sometimes humorous.
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