Lanyon chose to make more direct reference to the local landscape than Gabo or Hepworth. Visual and structural information concerning this Cornish fishing harbour was combined with figurative suggestion in the final painting.
Lanyon talked about exploring vertiginous edges such as ‘the junction of sea and cliff, wind and cliff, the human body and places', and in 1959 began gliding. The tactile surfaces and compact, enclosed forms of his work of the early 1950s began to expand into a new flowing style on an increased scale, encouraged by his knowledge of Abstract Expressionism.
Lanyon's prints related to his paintings and their themes. He produced linocuts, monotypes, etchings and lithographs. Ground Wind (lithograph, 1961; see 1981 exh. cat., no. 75), based on his gliding experiences, depicts the merging land, sea and sky; by drawing the image directly on to the lithographic stone, Lanyon achieved a freer treatment of the subject.
Lanyon's last works often drew inspiration from his gliding, but he also referred to architectural forms. He became involved with mural designs. In addition he produced painted junk-studded reliefs, which influenced his final oil paintings. These often carry discrete and integrated relief elements.
A. Causey: Peter Lanyon (Henley-on-Thames, 1971)
Peter Lanyon (exh. cat. by A. Causey, U. Manchester, Whitworth A.G., 1978)
Peter Lanyon: Drawings and Graphic Work (exh. cat. by H. Griffiths, Stoke-on-Trent, City Mus. & A.G., 1981)
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