Laura Freeman Laura Freeman

Close encounters | 19 May 2016

Plus: a new exhibition at the Fine Art Society counters the notion that the story of British art was an insistent 'journey towards abstraction'

issue 21 May 2016

A story John Piper liked to tell — and the one most told about him — is of a morning at Windsor presenting his watercolours of the castle to King George VI and the Queen. She admired his storm-tossed battlements; the King did not. ‘You seem to have had very bad luck with your weather, Mr Piper.’ If this was a criticism of the artist’s gloomy and gothic tendency, it was an unfair one. Mr Piper was very unlucky with his weather.

In Caernarvonshire in 1945, on a sketching trip with two small children in tow, it never stopped drizzling. In 1946, on another family sketching holiday in Pentre, his wife, the librettist Myfanwy Piper, wrote grimly to a friend: ‘JP is doing a drawing in a churchyard in a howling wind and both children and I are in the car and they are either shaking or shouting or asking me for a pencil or paper or hurling insults at each other and its frantic and my feet are cold.

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