The Thirties: An Intimate History of Britain. Juliet Gardiner

Чтение книги онлайн.

СКАЧАТЬ classical Greek sculptures, the twenty-four men and two girls (who didn’t last long, since ‘there’s a strict understanding in mining districts where women fit in and where men fit in’), made it clear that that was not what they wanted: they ‘wanted a way, if possible, of seeing for themselves’. So Lyon agreed (entirely against the spirit of the WEA, which was ‘all theory: nothing which could possibly be interpreted as being of any use for making a living could be taught’) to teach the men how to draw and paint, setting them homework each week to produce a picture on a subject like ‘The Dawn’, ‘Deluge’ or ‘The Hermit’, on cardboard or whatever material they could find.

      Lyon took his class to look at watercolours in Newcastle Gallery, and in February 1936, thanks to the generosity of the daughter of the chairman of the P&O shipping line, Helen Sutherland, who lived nearby in Alnwick and was a discerning collector of modernist art, to London to see the Chinese exhibition at the Royal Academy, and visit the Tate and other city sights, ending up with a cream tea and madrigals in the Hampstead home of the owner of Kettle’s Yard Gallery in Cambridge, ‘a celebrated exercise in applied tastefulness’.

      In 1936 the Ashington Group held its first exhibition of ninety-seven paintings and several engravings in Newcastle. The ‘experiment’ received favourable notices; soon the art world (the Surrealist painter Julian Trevelyan and the post-impressionist Clive Bell in particular) began to take notice, and the group was mentioned in a Penguin survey of art in England. Inspired by Ashington’s success, other art appreciation groups started to spring up, the British Institute of Adult Education mounted three exploratory ‘Art for the People’ exhibitions, and in April 1937 the Ashington Group contributed some pictures to what the art historian Anthony Blunt called ‘the most important event of the year from the point of view of English Art’, organised by the Artists International Association.

      ‘Unprofessional Painting’ was the title of an exhibition held at Gateshead in October 1938 to which the Ashington Group sent work. ‘They Paint Their Own Lives’ was another, held in Mansfield, Nottingham, six months later, and indeed the corpus of work did depict ‘ordinary life’: a miner reading a newspaper, a Bedlington terrier — ‘Miners are keen on Bedlingtons,’ explained a critic in The Listener — miners with their pigeons, playing dominoes, having Sunday dinner with their families, poaching. But most were of men at work: down the pits hacking coal, in the pit-head baths, eating their ‘bait’ (packed lunch). In the early days the men sold their pictures for a pound or thirty shillings, ‘to get money for painting materials’, and found themselves regarded as representatives of the British ‘social realist’ school. But ‘mining pictures would not be welcome to hang on the walls at home; landscapes would be considered more suitable. The women had had enough of mining dominating their lives, and frequently, when there were several workers in the house, reducing them to slaves. Many women were never able to get to bed except at weekends and just dozed in a chair to fit in with the different shifts.’

      Such voluntary efforts to help the unemployed (and integrate them into the life of the community, since most clubs and classes were open to all, in work or not) might be rightly admired for what they achieved, but there was a suspicion expressed by the trade union movement that occupational centres would produce semi-trained craftsmen who could be used to undercut existing wage rates, and in some areas pressure was put on unemployed union members not to join them. Others regarded the occupational clubs as little more than opium for the masses, handed down by a government that had no policies to end unemployment. Wal Hannington of the NUWM sneered at ‘how craftily the ruling class, by evoking the sentiment of charity, have sought to cover up their sins and omissions in the treatment of the unemployed’, and pointed out that the ‘honoured gentlemen’ of the NCCS had never joined in the demand for the abolition of the Means Test or the restoration of benefit cuts. Frank Forster, an intermittently unemployed casual labourer from Saltney in Cheshire, thought that ‘the idea behind … the BBC broadcasting of morning talks to Unemployed Clubs … seems to be an attempt to keep those who attend the clubs quiet. To dope them … They hand out … what will keep them out of mischief. They must place their existence on a charitable basis, provide them with voluntarily contributed clubs and games etc … All this to prevent them from falling into the hands of Communists.’ George Orwell was of much the same mind, arguing in The Road to Wigan Pier that the centres were ‘simply a device to keep the unemployed quiet and give them an illusion that something is being done for them’, though he conceded that what he considered the ‘rubbish’ the centres offered was probably better for the unemployed man ‘than for years upon end he should do absolutely nothing’.

      The educational and occupational activities at the unemployment centres may have seemed like splendid opportunities to those offering them, but from those on the receiving end, enthusiasm was not always so evident. Since club leaders were poorly paid, suitable people could be hard to find, and a great deal depended on their vitality and organisational skills. Such activities as the centres offered tended to appeal more to the young than to the older long-term unemployed, and class numbers dropped in some districts. ‘What we unemployed could do with is a little less of education and a little more of entertainment,’ suggested one of their nameless number in a letter to the Spectator in March 1933, while the anguish of an out-of-work miner permeates a documentary film made in 1932, when unemployment stood at over two million: ‘We can do physical jerks, grow cabbages until we’re blue in the face, but it’s not paid work. It’s just killing time. It’s not the real work that we want.’

       EIGHT The Hard Road Travelled

      The British working man, employed or unemployed, is very conservative in his allegiance to law, order and tradition. He hates the idea of a Red Revolution, which he knows would make an awful mess … Communist visitors in the distressed areas get short shrift from men standing unemployed round disused pit-heads.

      Sir Philip Gibbs, Ordeal in England (1937)

      No saviour from on high delivers,

      No trust have we in prince or peer.

      Our own right hand the chains must sever …

      From the third verse of ‘The Internationale’

      On the first day of 1932 the son and heir of the 7th Earl Fitzwilliam attained his majority. To celebrate, beacons were lit on the hills surrounding the family’s magnificent house, Wentworth. Built in the 1720s, the largest privately owned house in Britain, it had a room for every day of the year, and five miles of corridors. In front of the façade, which was the longest in Europe, the Elsecar Colliery Brass Band struck up, and a crowd 40,000 strong joined in singing ‘Londonderry Air’ and ‘We Won’t Come Home Till Morning’. And when the birthday boy, Lord Milton, drove with his father in the first car of a fleet of yellow Rolls-Royces on a ceremonial tour of his estates, the eight-mile route was lined with estate workers and the men who worked in the Fitzwilliams’ mines (on short time, given the economic climate) and their families, all waving and cheering, delighted that they had each been given a day’s paid holiday and a freshly issued ten-shilling note. At various stops en route Lord Milton would open proceedings by cutting a ribbon with a gold pocket knife his father had given him for his birthday, and at the New Stubbin pit the Secretary of the Yorkshire Miners’ Association stepped forward to thank the Earl and applaud him as ‘the finest idealistic employer in the country today’, a mine-owner who had so arranged things that not a single man had been dismissed despite the slump, and shifts had been arranged so the men received ‘the fullest benefits of the Unemployment Act’.

      The Wentworth miners might have doffed their flat caps and have had reason to feel grateful towards their employers, but in the 1930s most coalminers — the ‘sort of grimy caryatid[s] upon whose shoulders nearly everything that is not grimy is supported’, according to George Orwell, had СКАЧАТЬ