John Lennon
14 works
John Lennon is best known for his iconic role in The Beatles, but his complex legacy extends beyond music to visual art. From his early passion for drawing to his provocative Bag One lithographs and posthumous exhibitions, Lennon’s artwork reveals his views on love, peace, and intimacy, offering a deeper understanding of the artist behind the music.
The name John Lennon is among one of the most recognised names of 20th-century music, his status in popular culture canonised by his central role in The Beatles, and immortalised by his violent murder in 1980. Yet, beyond the songs and headlines, there was another side to Lennon that is lesser known but equally revealing; his love for visual art. Lennon’s sketches and drawings offer a candid insight into his private world, these works portraying a whimsical, but also deeply reflective side to the complex artist. Although in recent years the hero-worship of Lennon has been replaced by more discerning inspection, his artworks continue to speak not only to Lennon’s creativity, but to his search for meaning, connection, and identity, independent of the cultural myth he became.
Before Lennon became a global music icon, his first creative passion was visual art. From 1957 to 1960, Lennon studied at the Liverpool College of Art, with Lennon often describing art as his “first love” that preceded his musical career. Though his time at art school was marked by defiance against authority and academic norms, it laid the groundwork for the expressive drawings and sketches that would become a lifelong outlet for his creativity.
Lennon’s artistic style was deeply informed by the British tradition of satire and the works of surrealist artists, notably René Magritte. British cartoonists, who used humour and irony to critique the social order, provided further inspiration to the young Lennon. One early example of Lennon’s work from this period, The Daily Howl, a hand-drawn satirical ‘newspaper’ he created as a student, exemplifies his early fascination with humour and caricature. This self-published work was filled with exaggerated, whimsical characters, reflecting a young Lennon who was more interested in parodying societal norms than adhering to artistic conventions. Through his drawings, Lennon developed a visual language that mirrored his outlook on life; playful, irreverent, and often subversive, yet with an underlying ambition.
Lennon's art is defined by its stark minimalism, his pen-and-ink drawings embodying an economy of line that belies their emotional and intellectual depth. His sketches are marked by clean, unembellished lines that often evoke a playful, almost childlike quality. However, beneath this simplicity lies a subtle complexity, as Lennon used minimalism to convey layered emotions and ideas. Much like his songwriting, his art invites viewers to find meaning not just in what is drawn, but in the spaces left empty.
Humour was a defining characteristic of Lennon’s artistic expression. His drawings, much like his public persona, were infused with acerbic wit and a sense of playful irreverence that made him a magnetic cultural figure. Lennon’s art, similar to his music, functioned as a subversive commentary, often juxtaposing whimsy with deeper meaning. In both mediums, Lennon’s humour acted as a bridge between entertainment and reflection, provoking thought through humour and illustrating the power of art to both amuse and unsettle.
At the core of Lennon’s creative endeavours, both musically and visually, lay the themes of love and peace. His relationship with Yoko Ono was an undeniable force behind much of his later work, shaping not only his artistic output but also his worldview. Together, they became powerful advocates for peace, with their iconic ‘Bed-In’ protests symbolising their devotion to anti-war activism. These same ideals found expression in Lennon’s artwork, where his minimalist line drawings portrayed the couple both in intimate moments, and as activists, seen in Lennon’s 1988 work, Bed In For Peace. Furthermore, Lennon’s iconic John and Yoko (1970) drawing, one of the most widely recognised from his Bag One series, exemplifies his dedication to themes of love and unity. The drawing shows the couple intertwined in a gentle embrace, their bodies almost merging into one. This expression of intimacy and connection echoes the themes Lennon repeatedly explored in both his art and music.
The recent short film, War Is Over! (2023), was inspired by the couple’s anti-war sentiments, specifically their song Happy Xmas (War Is Over), which voiced Lennon’s political objections to the Vietnam War. The film’s stark, direct imagery mirrors the artist’s musical calls for peace, reinforcing his belief that art in any form could be a profound tool for social change.
Lennon’s later sketches delve into more personal and introspective themes, particularly surrounding his family life. One telling work is The Family (1980), which depicts Lennon, Yoko, and their son Sean. The piece reveals a man striving for a sense of belonging and balance within his family, even as he contends with his public persona. The work highlights his internal struggle between fame and family life, as the figures seem peaceful yet isolated, perhaps reflecting his divided sense of identity.
Like much of Lennon’s creative output, his visual art was not immune to controversy and polarised opinions. The debut of his Bag One Portfolio (1970) in London was particularly contentious. The series of 14 lithographs, capturing intimate moments from his wedding and honeymoon with Ono, were seized by the police for featuring erotic themes, sparking heated debate about the fine line between artistic expression and obscenity. This incident highlighted the societal tensions surrounding nudity and sexuality in art; critics were sharply divided in their responses, with some dismissing his drawings as overly simplistic. Others, however, recognised these pieces as authentic extensions of his distinctive artistic voice, encapsulating his irreverence and subversive spirit.
For Lennon, the backlash appeared to be of little consequence. He had long embraced a philosophy that eschewed public approval, a stance he maintained both in his music and his art. His artistic endeavours were not designed to cater to mainstream expectations, but rather to serve as a genuine expression of his thoughts and emotions. In the wake of the controversy, the Bag One series eventually gained traction, becoming highly collectible as its significance evolved in the years following his death. Over time, these lithographs would be appreciated not only for their artistic merit, but also for their bold challenge to societal norms, reinforcing Lennon’s enduring legacy as a provocative and boundary-pushing artist.
After Lennon’s death in 1980, Ono took steps to ensure his visual art received recognition. Exhibitions of his drawings and lithographs offered the public a chance to see a more personal side of the man they knew primarily through his music. In 1986, Ono began reproducing some of Lennon’s original sketches, and these prints, occasionally coloured by Ono herself, became part of a collaborative effort to share his artistic legacy. Exhibitions in cities including New York, Tokyo, and London allowed fans to experience Lennon’s work in a new way, offering insight into his thoughts and relationships long after his voice had been silenced.
Lennon’s lesser-known foray into art provides a captivating glimpse into the mind of an artist often overshadowed by his musical legacy. His minimalist sketches, infused with wit, introspection, and themes of love and peace, stand as a testament to his creative spirit. Through his drawings, Lennon navigated personal struggles, political beliefs, and intimate relationships, allowing his art to serve as both a reflection and extension of his multifaceted identity. While Lennon’s music cemented his place in popular culture, his art reveals a quieter, more vulnerable side to the mythologised figure.