Edward Burra (Picking a Quarrel 1968/9). Here he shows monster-like machinery ripping the landscape apart. The workers's appear as dark shadows.  Above the central tunnel a shrine likely influenced by the religious shines in Latin countries. Burra was very interested in the 'spirit of place' and supernatural powers of landscapes. The workers in the tunnels appear to have met their ends - maybe as offerings to the gods -through divine retribution for 'picking a quarrel' with the landscape.

Edward Burra (Picking a Quarrel 1968/9). Here he shows monster-like machinery ripping the landscape apart. The workers's appear as dark shadows. Above the central tunnel a shrine likely influenced by the religious shines in Latin countries. Burra was very interested in the 'spirit of place' and supernatural powers of landscapes. The workers in the tunnels appear to have met their ends - maybe as offerings to the gods -through divine retribution for 'picking a quarrel' with the landscape.

Edward Burra (British, 1905-1976), Fish Stall, Glasgow, 1949. Pencil, watercolour and gouache, 20.2 x 62.2 cm.

Edward Burra (British, 1905-1976), Fish Stall, Glasgow, 1949. Pencil, watercolour and gouache, 20.2 x 62.2 cm.

Edward Burra. 'Blue Baby: Blitz Over Britain'. Watercolour and pencil on paper. 1941.

Edward Burra. 'Blue Baby: Blitz Over Britain'. Watercolour and pencil on paper. 1941.

Edward Burra. 'Holy Week: Seville'. Watercolour and pencil on paper. 1937.:

Edward Burra. 'Holy Week: Seville'. Watercolour and pencil on paper. 1937.:

Edward Burra. 'Cabbages, Springfield, Rye'. Watercolour and pencil on paper. 1937.

Edward Burra: an utterly unique vision

Edward Burra. 'Cabbages, Springfield, Rye'. Watercolour and pencil on paper. 1937.

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