page_title: John Piper (artist)
section_title: World War II
hierarchical_section_title: John Piper (artist) / Biography / World War II
caption_attribution_description: English: A number of small concrete air raid shelters arranged in a circle in flat countryside with a water filled crater in the foreground
context_page_description: John Egerton Christmas Piper CH was an English painter, printmaker and designer of stained-glass windows and both opera and theatre sets. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. He was educated at Epsom College and trained at the Richmond School of Art followed by the Royal College of Art in London. He turned from abstraction early in his career, concentrating on a more naturalistic but distinctive approach, but often worked in several different styles throughout his career.
  Piper was an official war artist in World War II and his wartime depictions of bomb-damaged churches and landmarks, most notably those of Coventry Cathedral, made Piper a household name and led to his work being acquired by several public collections. Piper collaborated with many others, including the poets John Betjeman and Geoffrey Grigson on the Shell Guides, the potter Geoffrey Eastop and the artist Ben Nicholson. In his later years he produced many limited-edition prints.
context_section_description: At the start of World War II, Piper volunteered to work interpreting aerial reconnaissance photographs for the RAF, but was persuaded by Sir Kenneth Clark to work as an official war artist for the War Artists' Advisory Committee (WAAC), which he did from 1940 to 1944 on short-term contracts. Piper was one of only two artists, the other being Meredith Frampton, commissioned to paint inside Air Raid Precaution (ARP) control rooms. Early in 1940 Piper was secretly taken to the ARP underground centre in Bristol, where he painted two pictures.
  In November 1940 Piper persuaded the WAAC committee that he should be allowed to concentrate upon painting bombed churches. This may have reflected his pre-war conversion to the Anglican faith as much as his previous interest in depicting derelict architectural ruins. The terms of this commission meant Piper would be visiting bombed cities, and other sites, as soon as possible after an air raid: often "the following morning, before the clearing up". Hence he arrived in Coventry the morning after the Coventry Blitz air raid of 14 November 1940 that resulted in 1000 casualties and the destruction of the medieval Coventry Cathedral. Piper made drawings of the cathedral and other gutted churches in the city which he subsequently worked up into oil paintings in his studio. Piper's first painting of the bombed cathedral, Interior of Coventry Cathedral, now exhibited at the Herbert Art Gallery, was described by Jeffery Daniels in The Times as "all the more poignant for the exclusion of a human element". Piper's depiction of the east end of the cathedral was printed as a post-card during the war and sold well. In 1962 the same image was used on the cover of the official souvenir guide to the Cathedral."
  After the bombing raids of 24 November 1940 on Bristol, Piper arrived in the city a day, or possibly two, later. Piper only spent a few hours in the city, but his sketches resulted, by January 1941, in three oil paintings of ruined churches: St Mary-le-Port, Bristol, The Temple Church and The Church of the Holy Nativity. Piper also painted bombed churches and other buildings in London and Newport Pagnell, and also spent a week painting in Bath after the Bath Blitz air raids in April 1942. During the summer of 1941, Piper featured in a group exhibition with Henry Moore and Graham Sutherland at Temple Newsam in Leeds. The show was a great success, attracting some 52,000 visitors before touring to other English towns and cities.
  In 1943, the WAAC commissioned Piper to go to the disused slate mine at Blaenau Ffestiniog where the paintings from the National Gallery had been evacuated for safety during the Blitz. Piper found conditions in the underground quarry too difficult to work in but did paint some landscapes in the immediate area. He also toured North Wales by bicycle, cycling and climbing to photograph and sketch buildings and views in Harlech, in the Vale of Ffestiniog, on Cader Idris and on Aran Fawddwy. Piper had previously visited Snowdonia in 1939, 1940 and 1941, and often returned there after the war.
  Piper was also commissioned by the WAAC to record a series of experiments on bomb shelter designs and land reclamation work. Alongside Vivian Pitchforth, he painted the bombed interior of the House of Commons. In July 1944 the WAAC appointed Piper to the full-time artist post vacated by John Platt at the Ministry of War Transport. In this role Piper painted rail and marine transport scenes in Cardiff, Bristol, Southampton and other south-coast locations. Earlier in the war, he had also painted at the locomotive works in Swindon.
  Throughout the war Piper also undertook work for the Recording Britain project, initiated by Kenneth Clark, to paint historic sites thought to be at risk from bombing or neglect. He also undertook some private commissions during the war. Viscount Ridley commissioned him to produce a series of watercolours of Blagdon Hall and this led to a commission from the Royal Family for a series of watercolours of Windsor Castle and Windsor Great Park, which Piper completed by 
caption: Shelter Experiments, near Woburn, Bedfordshire (Art. IWM ART LD 3859)
exif: {"Image XResolution": "300", "Image YResolution": "300", "Image ResolutionUnit": "Pixels/Inch", "Image YCbCrPositioning": "Centered", "Image Copyright": "Imperial War Museums"}