John Piper began his artistic career painting abstract work. He and Ben Nicholson, who's work was also collected by E. F. Lindquist, belonged to the 7 & 5 Society. In the 1930s, the members of the group exhibited only abstract work. Piper not only promoted abstract art in Britain by serving as secretary of the 7 & 5, but he also published a journal devoted to abstraction titled Axis. Additionally, both Piper and Nicholson defended Pablo Picasso's work in letters to the British magazine Listener. However, Piper's commitment to abstraction faltered when World War II broke out. He and other artists grew wary of the style that they feared could be manipulated by totalitarian regimes as the promises of Russian Constructivism rang hollow. Piper began painting architecture and landscapes (subjects of English Romantic artists) in a naturalistic style that recorded specific details. He worried that many of the structures would be flattened by aerial attacks. As the war continued, he became an official war artist tasked with recording the destruction of German bombs. After the war ended, Piper continued to paint in a naturalistic vein. In the 1950s and '60s, he introduced bright colors, such as the vivid lime green in this print, into his work. In addition to painting and printmaking, Piper designed stage sets, tapestry, and stained glass windows.

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