One of the more novel art genres to emerge in the first third of last century was the “Pitman Painters” phenomenon in northern England. Known as the Ashington Group✱, these were a small collective of unionised mine workers in county Northumberland who approached their local Workers’ Educational Association (WEA) seeking out tuition in new areas of education. Initially the pitmen were hoping WEA could find a economics professor to tutor them in the “dismal science”. When none could be arranged, their interest switched to learning painting and drawing.

⇡ ‘Coal Face’, Jimmy Floyd (1947) (Credit: Woodhorn Museum)

Artist and WEA teacher Robert Lyon took on the task of teaching the miners—mainly from the Woodhorn and Ellington collieries—all of whom had no formal art training. The workers however didn’t take to dry lectures on the Classical and Renaissance art, so Lyon adopted a more pragmatic approach of teaching the miners the basics of drawing and painting. Lyon advised the miners to simply “paint what they knew” ‘Ashington Group of Pitmen Painters’, Artist Biographies, www.artblogs.co.uk.

⇡‘Coal-Face Drawers’, Oliver Kilbourn (1950) (Image: TUC150.tuc.org.uk)

In 1934 the workers formed themselves into a small society of miner-artists who met weekly to paint and discuss their work. Most of the small group were adherents of the political platform of the Independent Labour Party) (‘Ashington Group’, Wikipedia). The Ashington men even wrote their own constitution, setting out the regulations each of the members had to abide by, including a commitment to the establishment of a permanent collection of their work (” ‘An Experiment in Art Appreciation’: The WEA and the Ashington Art Group”, Marie-Therese Maybe, North East History, Vol 37 2006, www nelh.net).

⇡ ‘Pithead Baths’, Oliver Kilbourn (1939) (Credit: Woodhorn Museum)

With guidance from Lyon and support from patrons, especially from celebrated collector Helen Sutherland, the group got to observe ‘professional’ art in galleries – Newcastle, London (Tate and National Galleries), etc. Absorbing the influences of professional art, the group of amateur artists increasingly focused on local subjects from their lives and their environs. They also experimented with art forms and styles…trying sculpture, dabbling in abstraction, but ultimately they stuck with social realism, painting mostly in a naive style. In the communal environment of the group hut members critically evaluated each other’s work.

⇡ L Brownrigg, ‘The Miner‘

The Ashington colliery was situated in what some called “the largest coal-mining village in the world”, (‘Celebrating 150 proud years of Ashington, in Northumberland – in 10 archive photos’, Chronicle Live, David Morton, 05-Oct-2017, www.chroniclelive.co.uk). The achievement collectively of the mine workers was to capture their lived experience accurately and truly on canvas, showing the severity of life in the pits. Devoid of sentimentality, the paintings depict the day-to-day reality of gruelling, dirty, backbreaking work, an experience that outsiders have no familiarity with, eg, Leslie Brownrigg’s ‘The Miner’ conveys the deprivations of the tunnel ‘hewer’, labouring away in ultra-cramped, severely restricted space, “crouching semi-naked within the tomb-like shafts” (Mayne). Painting their own lives, the pitmen “testified to a familiarity that no one else from trained art backgrounds could truly understand” (Ashington Group of Pitmen Painters).

⇡ ‘X’mas Tree 1950’, Harry Wilson

Pitmen Painters did not restrict themselves to the life of mine workers below the ground. The non-professional group of artists took on all aspects of home life, ordinary social activities, the pub, football matches, dog tracks, fish-and-chip shops, pigeon ‘crees’ (sheds), etc. What comes through in many of the paintings is just how unglamorous 1930s coal-dominated Ashington was – “dreary rows (of homes) a mile long…ashpits and mines down the middle of still unmade streets” (Mayne).

The group’s first exhibition at Hatton Gallery, Newcastle-upon-Tyne, in 1936, gave them new public exposure and even a critical nod from the likes of Julian Trevelyan and sculptor Henry Moore.

‘Pigeon crees’, Jimmy Floyd ⇡

After WWII interest in the Ashington Group waned but the men from the pits continued their painting. The early 1970s brought a renewal of interest in the Ashington Group due to the efforts of critic William Feaver  After meeting what remained of the group including foundation member Oliver Kilbourn, Feaver “reconstructs their history, revives their work, curates exhibitions, culminating in a China tour in  1980, the first western exhibition in China after the Cultural Revolution✧ (‘Pitman Painters. The Ashington Group 1934-1984 by William Feaver’, Vulpes Libres,  (2009), (‘Pitman Painters. The Ashington Group 1934-1984 by William Feaver’, Vulpes Libres,  (2009) (http://vulpeslibris.wordpress.com)⊞.

⇡ Norman Cornish, last of the group

Despite their late rediscovery the Ashington Group’s days were numbered. Coal mines in the Ashington area and the north were closing down in 1980s Thatcherite Britain. The trigger which brought the group to a sudden halt was a prosaic and trivial matter of 50p! In 1982 the annual ground rent on the pitmen’s hut in Ashington was increased by 50p to £14 (Mayne). This proved a straw too much for the ageing handful of members still active and the Ashington Group folded in 1983, just one year shy of its half-centenary. Today the Pitmen Painters are all gone and Ashington and like towns are bereft of traces of their coal-mining past, however the art of the pitmen (or most of it) remains as a visual reminder of that life. With Feaver and other admirers’ help, the permanent collection, a key article of the group’s constitution, exists today, housed within the Woodhorn Mining Museum.

Footnote: Mining art Japanese style
Coal miner art is not the exclusive domain of Northumberland or even Britain. It also emerged in Japan in the art of Sakubei Yamamoto. Yamamoto’s entire work life from the age of seven or eight was in coal mines in the Fukuoka Prefecture. Only at age 57 did Yamamoto start painting seriously. Over the following years he produced over 700 paintings of his work milieu, providing “a visual record of the brutality of mining life, capturing the poverty of workers and their families, the personal lives, customs and superstitions, and their struggles for a better life. Like the Pitmen Painters’ permanent collection, Yamamoto’s ouevre found a home in a former mine site, the Tagawa History and Coal Museum (‘The Pitmen Painters of England and Japan’, Diana Cooper-Richet, The Conversation, 16-Jan-2018, www.theconversation.com).

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Pitmen personnel

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✱ the group initially met in a small hut in Longhorsley, but after WWII began, they were forced to relocate into Ashington proper, a small town in the coal-mining region of Northumberland

✧ on the China tour group members visited the mining province of Shansi

⊞ Feaver’s book on the group inspired a 2007 play by Billy Elliot author Lee Hall

⌖ prolific in output and broad in scope (including historical subjects among his artwork), Kilbourn exhibited his own series ‘My Life as a Pitman’ in Nottingham in 1977