The Drawings of Peter Lanyon by Margaret Garlake

Author:Margaret Garlake [Garlake, Margaret]
Language: eng
Format: epub
Tags: Art
ISBN: 9781351775083
Google: 2sVKDwAAQBAJ
Barnesnoble:
Goodreads: 2242207
Publisher: Routledge
Published: 2003-12-01T00:00:00+00:00

He concentrated on the essentials of buildings, from the façade of S. Rufino, the cathedral church of Assisi (Plate 3) to the Rialto in Venice, emphasizing their distinctive details rather than making exact replications on paper. While the marks in Italian Church, Assisi are different from those in Grand Place, Bruges, the purpose that they serve is comparable. In the Bruges drawing Lanyon truncated the tower of the Belfry but conveyed essential information about the shape and relative size of the windows, using different marks to distinguish the attic storey from the larger, round-headed windows below. The Assisi drawing displays a wider repertoire of marks, with hatched pencil lines replaced by gouache. Though the drawing of S. Rufino is much freer than the Bruges sheet it conveys more information: the round arch that appears to float free of the triangular pediment is in fact a blind arch within it, while rose windows, the carved door surround, blind arcading and waterspouts are all accurately placed, drawn as though the stone were alive, mobile and shifting, rather as Adrian Stokes had described limestone carving ('We come to see its stones as waywardness, as rhythm and movement'13). It soon becomes evident that what at first sight looks like a quick sketch is the product of prolonged examination of the building.

14 Grand Place, Bruges, 1937 (st)

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