As she and Clark point out in the catalogue that accompanies the show, a painting such as Industrial Landscape, Wigan (1925) was, and still is, prescient: "The swamps and the chimneys are those of Wigan 70 years ago, but could as well be on the edges of Shenzhen or São Paulo in 2013. Wagner is a touch warmer. He can syncopate. No promises for the future. But part of the point of the show is: what's it going to be like when this body of work is gathered together?". I look at Lowry's work and, though my brain tells me that I'm gazing at chimney stacks and houses and tiny freight trains, threading their way through towns like a line of ants, it is the painter not his subject that I always see in my mind's eye, his mackintosh buttoned tight against the weather and the world. The naive elements in his style are belied by strong compositions and skillful drawing. When she died in 1939, things were beginning to change – this was the year of his first one-man show, which was reviewed widely – but Lowry now fell into a depression. ", Are they, poachers turned gamekeepers, excited about the show? As Wagner writes in her catalogue essay, there are nearly as many tales told about LS Lowry as there are tellers: given that he was a man of the 20th century, accessible both to newspapers and television, it's extraordinary how many myths and untruths attach to his name (see box overleaf). On the surface, he is not at all the kind of man you'd expect to want to stick up for cuddly old Lowry, and therein lies his cachet as curator. "I'll give it a shot," says Wagner, reluctantly. In 1943, he was appointed an official war artist.

In 1950, 13 works were included in the exhibition Painters' Progress at the Whitechapel, and in 1953 he was commissioned to record the Coronation. It's a complicated business. In 1898, they moved to Victoria Park, an area of Manchester where, as the historian AJP Taylor put it: "Gothic palaces jostle each other and gardeners dust the soot from the leaves of the trees." However, in art history circles, they are big cheeses; people take them seriously (if not quite so seriously as they take themselves). Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. Photograph: © Christie's Images / The Bridgeman Art Library, n a somewhat stark meeting room at Tate Britain, the curators of its forthcoming, LS Lowry photographed near a mill in 1964.
In 1976, shortly after his death, the Royal Academy displayed his work in a retrospective exhibition that was extremely popular with the general public. Instead, a mealy-mouthed statement about how it "regularly" loaned Lowrys to exhibitions "in the regions". Lowry continued to attend classes until 1928, first at the Salford School of Art, and later at the Manchester Academy of Fine Arts. "But I don't think you're going to be convinced." Lowry was required to read to her every night after he came home from work; he could only paint once she'd gone to sleep. "His paintings of churches epitomise this. "I'm never consistent with my answer, but perhaps it betrays my sober alienation or my misanthropy. Clark, who is British, and Wagner, who is American, are not Lowry specialists. L.S. His career as an artist built slowly, perhaps in part because he was so stretched at home. Lowry studied intermittently at art schools in Manchester and Salford, England, from 1905 to 1925. No protestations of love. It's a modern problem: what is the crowd?

"I couldn't be more excited about that room," she says. They are not even British specialists (Wagner has written about British sculpture, but Clark made his name with a book about Manet). Far from it. Lowry, in full Laurence Stephen Lowry, (born November 1, 1887, Manchester, England—died February 23, 1976, Glossop, Derbyshire), English painter noted for his industrial landscapes that express the bleakness and loneliness of modern urban life. But a new exhibition at Tate Britain, curated by two unlikely champions of Lowry, reconsiders the painter's place in history and suggests that his mills and smoking chimneys are more than portraits of a bygone world, 'His paintings have an intense amount of feeling': LS Lowry's Fun Fair at Daisy Nook (1953). He must have spent a lot of time covering up – and for what?"
It's this side of Lowry, moreover, that seems to interest a new generation of admirers of his work. By the end of the 50s, he was famous, the subject of a BBC documentary and with his own permanent space at Salford Art Gallery.


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