Piper and after
One of my favourite blogs is Adventures in the Print Trade, in which Neil Philip, proprietor of the online gallery Idbury Prints, shares some of his discoveries and enthusiasms. Neil recently posted about some images of 1940s Devizes by John Piper and I was particularly pleased to see these prints because I’d already read Piper’s short essay about the town reprinted in his book Buildings and Prospects (the dust jacket of which is illustrated with versions of some of the Devizes images). In the essay, Piper praises the town’s ‘good minor architecture, magnificent museum (contents not building), brewery and tobacco factory (sensible, small-scale manufactures for such a town), branch-line railway, good inns and bars, hotels… fair churches and chapels, canal of handsome appearance, sensible plan, bracing air, good-looking inhabitants, cinemas (old-fashioned and super, the super not ostentatious).’ If the place has lost some of these amenities since Piper wrote in 1944, it retains enough of them, from inns to churches, to make it recognisably the same town.
Piper’s approach in his illustrations is similar to the way he worked on prints of towns such as Penzance for the Architectural Review. He shows us groups of buildings, throwing light on how they relate to one another along a street, and conjuring up in the process a powerful sense of place. I’ve chosen a couple of examples from Neil’s collection to show what I mean. The simple outlines, blocks of colour, and rapidly sketched details give us the essential information – the shapes of the buildings, their materials, key details such as windows and doors. We quickly grasp the character of the place – a mix of Georgian and Victorian buildings in stone, brick, and colourwash, with a minimum of modern modification.
The prints also appeal to me because they bring out an essential difference between the way an artist like Piper worked and the way I work when I point my camera at the same place. Piper could include or exclude anything or anyone he liked from his sketchbook. My camera is not so selective. So when I last went to this town on a busy Saturday morning (and I was pleased to see that the place was busy and the shops well used), I tended not to take general views like Piper’s which would have been full of cars and shoppers, but to concentrate on individual buildings when there happened to be fewer passers-by in front of them.
So I went, for example, for the Old Town Hall (also known as the Cheese Hall), visible in Piper’s print down a street of the Market Place itself. This George II building (see my photograph above) shouldn’t work really – the old open arches of the ground floor have been glazed to make offices for a bank. And even in its original state the building was a cobble: an even number of arches (and, therefore, a column in the middle of the façade) is a no-no in Classical architecture. But from chunky ground floor to sculpted pediment it holds together. And look how Piper, in the upper print at the top of this post, has caught the context – the distant tower of the church to the right, the elaborate shop (a former Boots) with domed white tower to the left, and the framing buildings on either side.
Likewise with Piper’s view of the side of the Market Place containing the Black Swan, a coaching inn dating from the 1730s. His sketchy style doesn’t show as many details as a photograph might, but he’s got the gist of it. And the setting – including the streamlined 1930s Co-op to the right, now replaced, as you can see in my photograph, with a blander building, no doubt designed to “fit in” to the townscape, but sadly losing the struggle.
There’s so much more in Piper’s Devizes prints, and looking at them again makes me want to revisit the town and see what other details noted by the artist are still there. These small works show that Piper, whether he was producing a very worked-up, consciously grand, print or painting of a big country house, or these more modest images of a market town, could pack in telling details – and make us look, and look again with fresh eyes.
15 comments:
Excellent post, thankyou. I've always loved these Piper illustrations, particularly the way he includes handwritten notes into them. It's like his drawings of chapels, as seen in Betjeman's First & Last Loves, one at least drawn on a music score.
Thanks, Peter. I like the chapel prints, too. Like these Devizes images, they convey the essence of their subject without being overworked. It must have been one of the keys to Piper's success that early on he discovered how to make effective work at great speed.
a thoroughly excellent post! An I agree with both you and Piper on the charms of Devizes, it certainly has a pleasant prosperous feel (with out being overly pleased with itself)Im not a huge fan of Piper's darkly oppresive style on paper but I certainly appreciate his stained glass windows at Coventry cathedral which are magnificent
Worm: Thank you! Piper's dark skies (and dark interiors) are an acquired taste. But he did so much more, and some of his best work was in the applied arts – stained glass, ceramics, textiles, and so on. This work often gets overlooked because of Piper's reputation as a print-maker, but a lot of it reaches a very high level indeed.
Philip, you are a John Piper for the 21st century!
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Bazza: My cup runneth over. And my head swelleth!
By the time Piper made these sketches he'd been zooming around the country for years, sketching and painting like a man possessed: he could grasp both the general feel of a place AND identify the uniquely interesting details.
Like you, I often take photos of places and it's always tricky to capture both of these aspects - wonderful in these sketches to see the shape of the street, and of course it's fascinating to see the modern photos alongside - thanks!
James: Thank you. 'Zooming' is the word. Even Betjeman couldn't keep up with Piper when the pair went on 'church crawls'.
Thanks yet again.
Thanks for the compliment - and it's fascinating for me to see how Piper's lithographs relate to the present-day townscape. Of course when he was making his drawings, there would have been both fewer people and especially fewer cars, so the need to focus on a single building rather than a longer view is partly dictated by the facts on the ground. But ignoring those pesky facts, the buildings seem to look today pretty much as they did then. The love of one's own landscape and environment is an inbuilt thing, but Piper seems to have felt it exceptionally strongly, and for the whole of Britain, not just one small patch.
Neil: Yes - and Piper's strength of feeling encompassed both great buildings and small, both immaculate facades and decaying old walls.
I am constantly amazed at your photos of high streets et al We don't seem to have anything like this in the US, probably because we keep tearing down our own 'historic' downtowns, and getting rid of our very own local retail stores. I applaud you for keeping up with the locals in your clime.
Down with Walmart!
Down with Target!
down with BIGSTOREs,
all of them.
To the tune of 'Men of Harlech)
That's really inspiring Philip. I've always loved the work of John Piper. Our much loved art teacher used to try and link the style of those of us in his 6th form art group to rather better-known painters. Mine he likened to John Piper...a hugely undeserved compliment which was really meant to spur us on to greater things. It helped my art but never to the point where I could be less than light years away from John Piper. But what a super motivational idea.
Anon: Well, the British High Street is going through a bad time right now. Everywhere there are stories about unoccupied shops as stores move to out-of-town complexes, or just go out of business. But in some places we do still have some beautiful and thriving town centres - I hope we manage to hang on to them.
Jon: He sounds like a good teacher - the right kind of encouragement can work wonders, I think.
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