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San Marco, Venice, 1961
By John Piper
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John Piper was born at Epsom in Surrey, 1903. Following his father’s wishes, he spent 5 years in the family law firm before pursuing art, firstly at Richmond School of Art and then at the Royal College of Art. In the 1930s Piper exhibited abstract pictures and constructions, then reverted to creating landscape and architectural images, developing the picturesque style that features in his later work.
Piper experimented with printmaking from as early as 1923 when he produced four wood engravings. Piper’s prints embody his love of Britain through their depiction of its art, architecture and topography. However frequently underpinning their design, as the artist Rigby Graham has indicated, are the elements of collage, construction and assemblage that featured in his modernist work of the early 1930s.
Piper experimented with printmaking from as early as 1923 when he produced four wood engravings. Piper’s prints embody his love of Britain through their depiction of its art, architecture and topography. However frequently underpinning their design, as the artist Rigby Graham has indicated, are the elements of collage, construction and assemblage that featured in his modernist work of the early 1930s.
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About the Work
Signed original lithograph. Proof aside from the edition of 100. Printed by Harley Brothers and published at the Curwen Studio. Bears the blind stamp bottom right from the Archive of Stanley Jones.
Piper had first drawn in Venice in the spring of 1959, for a commission from the Arthur Jeffress Gallery in London. He then regularly made paintings and drawings of the city, and drew illustrations for an edition of Adrian Stokes' book Venice.
Piper had always admired the writing of John Ruskin, who had affected his art more than any other critic. He used the surface of this lithograph to imitate the unexpected dazzle of light from the façade of St Mark's Cathedral. This fascination combines Ruskin's interest in the variety of weather and in The Stones of Venice.
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