John Piper’s shimmering aquatints of Brighton give voice to an English spirit
John Piper was one of the leading artists of the 20th century Modern British Art Movement.
He worked in the abstract, romantic and classical traditions as a painter, ceramicist, writer, designer and printmaker.
Piper’s 1939 illustrations for the book ‘Brighton Aquatints’, have been credited with the revival of the aquatint as a 20th century print medium in Britain.
The book consist of twelve aquatints of Brighton.
Two hundred standard copies were printed and a further fifty-five copies were hand-coloured by the artist.
The prints were not signed, although Piper did sign and dedicate some copies of the book.
The illustrations were printed by the two Alexander brothers who had a basement workshop in Henrietta Street, Covent Garden, London.
The watermarks which appear in the paper are irregularly placed and are styled as a hand raised in blessing, a head, said to be that of Christ, and the date 1939.
The process of creating an aquatint involves exposing a plate, usually of copper or zinc, to acid through an applied layer of granulated, melted resin.
The acid incises the plate between the granules creating areas of evenly pitted surface.
This can be varied by applying additional resin, scraping and burnishing.
Different strengths of acids are also employed.
When the grains are removed and the plate is printed it results in variations of tone.
The effect often resembles watercolours and wash drawings, hence the name Aquatint.
Rooted in the English tradition John Piper’s work often relates to a place, be that a landscape or a building.
Piper brings a particular quality of engagement to his subjects.
He captures the poetic, his emotional response and thoughts, as well as the essence of the physical reality.
These themes and responses belong to the English Romantic tradition.
In this ‘Piperesque’ view of Brighton The
Royal Pavilion is depicted shimmering in the bright spring sunlight.
In his notes Piper describes the building’s extravagant beauty and the great affection in which it is held.
In ‘Regency Square from the West Pier’ we are reminded of a view now lost to us.
John Piper describes how the pier appears like a ‘dazzling white meringue, brittle and sweet…florid and grand as anywhere.’
Regency Square is laid out on a gentle slope in the view beyond.
John Piper wrote quoting Constable ‘Painting is with me but another word for feeling…’.
His work gives voice to an English vision and spirit.