How you can use this image

This image can be used for non-commercial research or private study purposes, and other UK exceptions to copyright permitted to users based in the United Kingdom under the Copyright, Designs and Patents Act 1988, as amended and revised. Any other type of use will need to be cleared with the rights holder(s).

Review the copyright credit lines that are located underneath the image, as these indicate who manages the copyright (©) within the artwork, and the photographic rights within the image.

The collection that owns the artwork may have more information on their own website about permitted uses and image licensing options.

Review our guidance pages which explain how you can reuse images, how to credit an image and how to find images in the public domain or with a Creative Commons licence available.

Notes

Add or edit a note on this artwork that only you can see. You can find notes again by going to the ‘Notes’ section of your account.

Peter Lanyon is one of many artists associated with St Ives in Cornwall, where he grew up. He knew the artists who moved to Cornwall, such as Adrian Stokes, Ben Nicholson, Barbara Hepworth and Naum Gabo, and his contemporaries included Sir Terry Frost, Patrick Heron and Brian Wynter. In the 1950s and 1960s they became known for vivid near-abstract painting, which often took the experience of landscape as a starting point, and deployed effects of colour, texture and the illusions of flatness and space on the surface of paintings. 'Beach Girl' points to a number of ways in which Lanyon’s work is distinct within this group of artists. He felt he had a distinct connectedness to the local landscape. Earlier in his career, for example, he described Cornish mining landscapes through dense images that suggested dark hollowed out spaces and jagged forms.