Leaving St Peter’s Square – A4 Digital Print
About the image:
A bright yellow Manchester tram
The yellow paintwork is a distinctive feature of the Manchester tram, making them easy to spot as they approach. Piccadilly, the destination declared by this one, dominating the bottom of the image. It reminds me of a previous painting Piccadilly Bound I wonder if it’s the same one? Mosley Street is an impressive part of Manchester, with the Art Gallery one of my favourite buildings. It was the first gallery I ever went to and my first experience of art close to.
You know when you sit behind a tall person in a theatre?
You have to strain to see, or move from side to side. The street sign in the middle is like that person. You want to ask it to move or look to the side to see the view. You can’t do that, of course. Why do so many artists edit views by removing what they consider ugly or modern? I honestly don’t know. To me, they are as much part of the scene as the architecture. Everyday life depends on them, they guide us on our way.
Behind the golden streak of the Manchester tram is Two St Peter Square, which always reminds me of a paper doily, with its brilliant-white, lace-work facade. A familiar sight now on this historic street.
A few people pass by or loiter, chatting with folk unseen in the shadows. The scene feels sunny, even on this dull day. The yellow stonework and tram livery give off a sunshine glow. Even the street markings are trying to get in on the act.
Nestled between the City Gallery and Two St. Peter’s Square another of Manchester’s glorious red brick buildings hides. You find similar constructions everywhere in the city. Each one a testament to craftsman of yore, a combination of deep red brick and yellow carved sandstone. It’s too far away to see details, other than stone window mullions and a low columned parapet.
Below all this, the tram’s journey may be frozen in time, leaving St. Peter’s Square, heading to Piccadilly but it’s speed and presence dominate.
This is an A4 Digital print.
The original painting that the print was based on was initially drawn with pencil onto watercolour paper stuck onto on board. These lines were then drawn over using masking fluid and then painted using watercolour paint and acrylic ink. Salt was also used in the process and some of the ink blown around using a straw. Once the painting was dry the masking fluid was removed to reveal the finished painting. The original painting was created in England in 2021.
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