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It contains every element of significance for an understanding of the painter's mature vision. Gone is the bronchial gloom of the early industrial paintings to be replaced by a clean, crisp atmosphere. This is perhaps the Elysium of the artist's dream; the pure poetry of the industrial landscape - miraculous and shining. People and animals, buildings and smoking stacks, the boats bobbing on the pond, and in the background, and high up, the most haunting of all the artist's glass-root images - the Stockport Viaduct - combine in a glorious harmony.
Lowry once remarked how the Stockport Viaduct would suddenly materialise in a painting quite out of any literal context:
"It's with me all the time - somewhere" he said. "Just waiting to appear. It haunts me."
In a letter to the Tate Gallery, written in 1956, Lowry described his working method.
"This is a composite picture ... I hadn't the slightest idea what I was going to put in the canvas when I started ... but it eventually came out as you see it. This is the way I like working best".
Source: L.S. Lowry RA, 1887-1976: [catalogue of an exhibition held at the Royal Academy], 4 September to 14 November [1976]
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