L.S. Lowry (1887-1976) in 1953 created as a section in a canvas rivalry run by the Football Association, a work called 'Football Ground'. Later re-named 'Going to the match' this was sold in 1999 to the Professional Footballers' Association for £1.9 million, and can by and by be seen at the Lowry community in Salford. It portrays hordes of individuals spilling towards the football ground (Bolton Wanderers' presently ancient arena of Burnden Park), cheerful dispositions making a beeline for dark high raked open stands. It is feels cloudy and there is a solid breeze, a red pennant snapping a salute over the ground , the football fans some twisted firm into the breeze, caps smashed tight are not to be denied. Behind the scenes are the confined red block terraced homes of these football allies, further somewhere out there are the smoke stacks and industrial facility dividers of the plants that developed the town. At the point when Saturday comes, delivered from work, the specialists head for the match, come high wind or downpour, the game and life is on.
Lowry had little interest in the individual, his eye was on the mechanical scene and how that formed the local area it served. Football is a (maybe was?) common game, played by and for predominately average individuals, it is the place where individuals of that local area discovered their personality. In 'Going to the match' we can see this introduced as a saying, the sort of individuals and their experiences plainly obvious. Maybe it is a direct result of this, the average workers; en-mass at play that football isn't addressed in workmanship. Generally 'high' workmanship was at the command or commission of the well off and consequently, its style and subject would be intended for their taste and utilization, independent of the craftsman. It was not in the force, monetary or fortunately, nor in the endowment of the poor to commission workmanship, in the metropolitan and modern conurbations of the late nineteenth century and mid twentieth century, idealism and amusement came from the music lobby and football. วิเคราะห์ บอลเต็ง
Maybe as well, the opposing idea of the lovely game; elegance and hostility, physicality and strategies, discipline and impulse, not least obviously the eccentric determination to a game, doesn't loan itself effectively to a display divider. Of course, the present maxim of record is celluloid, which either in film or photo can once in a while catch more than the snap of activity, and is along these lines dispossessed of an outline. One special case maybe is the film, 'Zidane: A 21st Century Portrait' by Douglas Gordon and Phillipe Perreno. Where this incredible football player is followed only by 17 camera's for the time of one single football match. As a representation it is strange as the complexities of outer setting are forgotten about. In any case, it is a hypnotizing and powerful record of man at work in his own cracked memory, educational as an inward talk in any case, does it convey the heaviness of discourse? While Lowry's 'Going to the Match' is both metaphorical and expressive, of time, place and of the Zeitgeist.
Taking everything into account, the main football players photographs that will be seen hanging will be the groups and most loved players holding tight the room dividers of youngsters, and those football players photographs will be banners from the club shop. That banner as well, will change as groups age and player's fortunes rise and fall. In a farsighted note, L.S.Lowry painted another image likewise confusingly called 'Going to the Match' in 1928, a more modest group heading for a rugby match this time. This image is more dismal, most shading cleaned out, the mind-set as the sky, lower and hazier. This 1928 and the world is dreary, in 1929 the financial exchange slammed and the 'economic crisis of the early 20s' cleared in.