Piper’s topographical and architectural recordings extended beyond Britain after the Second World War. From 1955, he would drive around the south of France every summer with his family, making studies of the countryside and villages. With each visit, Piper’s affinity for the country grew stronger, returning to seek out more inspiration and new subject matter to bring into his practice. Bold lines and a broad application of contrasting colour also began appearing in his painting, echoing the theatre sets and stained-glass designs he was producing at the time.

The town of Rodez, was one of the extensive number of locations visited, noted by Piper’s daughter Clarissa, who kept a diary of everywhere the family visited in 1958. It is no surprise Piper was so taken by this imposing cathedral. Its flamboyant gothic tower, Renaissance detailing, and rose window dominate the entire sheet in the present work, which is a study for Piper’s large-scale oil, Rodez (Aveyron), 1971 (exhibited at Marlborough Fine Art in 1975). The striking red pigment recalls the red brick sandstone of the building, appearing to glow in places to capture the intense sunlight of the day. Interruptions of sharp green dramatically contrast with the composition, illustrating Piper’s growing experimental style and inspiration from the Impressionists.