What the papers said

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In Arts News and Review, Mervyn Levy (author of books on L S Lowry and his greatest champion) said of Isherwood’s third London show:
“Mr Lawrence Isherwood, a Northerner, is a painter of considerable energy, working often with consummate brilliance, in the established Expressionist style. For him, the swift, unimpeded flow of paint from the fiery mouths of his brushes is a corollary of breathing; painting is the logical extension, a supplement of being, and as natural. Paint of die, his pictures seem to say. It is this passionate vitality that makes him such an engaging and stimulating artist.
“One is affected, deeply, by the pulse and movement, the pure-rhythm and restless dynamic of his work. Mr Isherwood is unquestionably an artist of distinct talent.

newspaper-cutting-1Daily Mirror
He is recognised as one of the North’s most talented painters.

The Guardian
The paintings themselves reveal an astonishing variety of natural beauty in a town almost notorious for its alleged drabness. The pink and yellow of Lime Street, the sulphurous background of a study of women in shawls and the peaked faces of the pit brow lasses sorting coal are memorable and exciting.

Pierre Jeannerrat, Art Critic, Daily Mail
There is power in his work.

The Financial Times
Jim Isherwood is almost the last artist of enduring note who has refused to be managed into financial security.

Daily Telegraph
Pleasure in use of paint – Lawrence Isherwood is a prolific artist who obviously enjoys handling oil paint. Colour and brush work combine very happily.

On 7th November, 2009, Robert Clark of The Guardian wrote this of the Isherwood exhibition at Leigh:

The north-west of England seems to have produced a host of oddball painters during the dreary post-second world war years; one thinks first and foremost of Salford’s LS Lowry, a painter best known for his depictions of matchstick men in industrial districts, but whose less familiar late seascapes and almost perverse girlie fantasies are now recognised as far from provincial.  JL Isherwood, who died in 1989, never quite achieved Lowry’s degree of stubborn, eccentric confidence, but his painterly array of terraced and cobbled backstreets and gurning old blokes, all embodied in a distinctive style of dark and dank impressionism, is utterly persuasive, as this reassessment will hopefully amply demonstrate.