Soaring Flight: Peter Lanyon’s Gliding Paintings - Exhibition and accompanying catalogue
- Submitting institution
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Courtauld Institute of Art
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 66
- Type
- M - Exhibition
- Venue(s)
- The Courtauld Gallery, London
- Open access status
- -
- Month of first exhibition
- October
- Year of first exhibition
- 2015
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The output Soaring Flight: Peter Lanyon’s Gliding Paintings is a curatorial project consisting of an exhibition (The Courtauld, London, 15 October 2015 – 17 January 2016) and an accompanying catalogue.
This portfolio has two components:
1) The catalogue Wright and Treves, eds, Peter Lanyon: Soaring Flight: Peter Lanyon’s Gliding Paintings (The Courtauld/Paul Holberton Publishing, 2015). Wright also co-authored the introductory essay, ‘Peter Lanyon’s Gliding Paintings: An Introduction’ (6000 words).
2) A dossier illustrating: preparatory curatorial research, installation views, and information on dissemination events.
Peter Lanyon is often overlooked in accounts of twentieth-century art, but has significant claim to be considered as one of the most innovative modern landscape painters of the post-war era. Wright instigated this research-led exhibition project to help redress this by exploring, for the first time, Lanyon’s unprecedented series of paintings and sculptures based on gliding, which Lanyon took up to gain a new appreciation of an embodied experience of the landscape and sky.
Wright convened a scholarly team to work on the project, including co-curator Toby Treves, author of the Lanyon catalogue raisonne. The team’s contributions were organised by Wright to approach the subject from different but interlinked perspectives. The aim was to establish the key aspects of Lanyon’s endeavour, including which of his works could clearly be considered ‘gliding paintings’ to select the most significant examples for the exhibition, to contextualise the works socially and artistically, and to develop new ways of reading the paintings and sculptures based on first-hand knowledge and experience of gliding itself.
These art historical, cultural and experiential insights were vital to more fully understanding the paintings and allowed Wright and the team to communicate their meanings and significance through the exhibition, shedding light on an important but under-explored body of work by Lanyon.
- Author contribution statement
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- Non-English
- No
- English abstract
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