'An abstract expressionist with constructivist undertones' - Peter Lanyon at Tate St Ives

Highlights from the first major retrospective on one of the greatest exponents of British abstract expressionism in almost 40 years
Peter Lanyon, St Ives Bay (1957)

1 / 9 Peter Lanyon, St Ives Bay (1957)

Peter Lanyon, Construction in Green (1947)

2 / 9 Peter Lanyon, Construction in Green (1947)

Peter Lanyon, Travalgan (1951)

3 / 9 Peter Lanyon, Travalgan (1951)

Peter Lanyon, Porthleven (1951)

4 / 9 Peter Lanyon, Porthleven (1951)

Peter Lanyon, St Just (1953)

5 / 9 Peter Lanyon, St Just (1953)

Peter Lanyon, Construction for `Lost Mine' (1959)

6 / 9 Peter Lanyon, Construction for `Lost Mine' (1959)

Peter Lanyon, Thermal (1960)

7 / 9 Peter Lanyon, Thermal (1960)

Peter Lanyon, Saracinesco (1961)

8 / 9 Peter Lanyon, Saracinesco (1961)

Peter Lanyon, Field Landing (1963-1964)

9 / 9 Peter Lanyon, Field Landing (1963-1964)

The first major exhibition of the artist's work for almost 40 years, Peter Lanyon, at Tate St Ives (until 23 January) seeks to emphasise the technical innovation and progression of one of the leading exponents of abstract expressionism in Britain in the 1950s. 

Spanning early Modernist pieces from the 1930s and 40s (created under the influence of Ben Nicholson and Barbara Hepworth) to works produced for his final exhibitions in New York and London before his untimely death in a gliding accident in 1964, the exhibition showcases some of Lanyon's most spectacular work, including Porthleven (1951), a re-creation of an earlier work done in a four hour whirl after he destroyed the original following a heated argument with Nicholson. 

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