Published to accompany the exhibition of the same name held at The Courtauld Gallery, London, 15 October 2015-17 January 2016.

This title was first published in 2003. Peter Lanyon stood at the forefront of landscape painting in Europe during the late 1950s and early 60s. A prominent St Ives artist, he was associated with Barbara Hepworth, Ben Nicholson and Naum Gabo; his work also has affinities with abstract expressionism. Lanyon's career started just as the study of drawing was being liberated from 19th-century academic constrictions. His many drawings range from records of trips to the Netherlands and Italy to portrait sketches and abstract studies. Lanyon also used drawings extensively in the development of some of his most important paintings. In this study, Margaret Garlake explores Lanyon's theory and practice of drawing; the contribution of drawings to the evocation of place in paintings; his use of models and the metamorphosis of the human body into landscape images, as well as his use of three-dimensional constructions as equivalents to drawing.

Peter Lanyon was one of the most exciting and original landscape painters of the 20th Century. The only native-born Cornishman of the St Ives artists, Lanyon's representation of the land he grew up in was complex and passionate: for him it was part social history, part myth, part aesthetic. This book -- the first major assessment of Lanyon's work -- explores how the artist's words and paintings interrogate the very notion of how landscape is perceived and conceived. It tells of Lanyon's singular place within the 20th century's major art movements -- abstraction and the post-war British figurative tradition -- alongside his strong belief in employing landscape and place to explore questions of personal identity. Book jacket.

British painter Peter Lanyon transformed the art of landscape, rescuing it from picturesque depictions of the English countryside and resituating it as an art form capable of expressing radical ideas. The old European tradition of landscape—mostly concerned with ownership and leisure and not the daily life of the working class—was of no interest to Lanyon. His work instead reframed the consequences of war and industrialization upon a rapidly changing coastal landscape. In Peter Lanyon, Andrew Causey sets out to explain just how this transformation occurred. Lanyon’s family resided in West Cornwall for generations, and Causey asserts that the artist’s concern with regional identity, along with his resistance to what he saw as a history of outsider exploitation of St. Ives and the surrounding areas, were integral to his art. Drawing on recent work by cultural geographers, anthropologists, and archeologists, Causey makes sense of Lanyon’s relationship to the landscape and the pre-capitalist economy of his region. Provocative and insightful, Peter Lanyon is a thoroughly illuminating examination of the modern life of a landscape artist.

Margaret Garlake's study of Peter Lanyon provides a unique survey of his life and work, from his childhood friendship with Patrick Heron to international acclaim in the 1960s. He was the only Cornishman among the leading members of the St. Ives group.

One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!

Causey examines the elegiac nature of some of Lanyon's early work and asks to what extent his experience of war, death and physical destruction map onto his presentation of the imagery of western Cornwall.