Social Realism & the Art of Colin Moss ARCA
Colin Moss was a social realist [who] applied firm draughtsmanship and the forceful vision of European expressionism to the docks and terraces of his native Ipswich. There he drew and painted scenes of ordinary life – men in the pub, women eating sandwiches in the park or bending on doorsteps to pick up milk. “I draw working-class people because they are more interesting than middle-class people,” he said. “I have no political allegiances.”
Ian Collins – The Guardian (January 2006)
Colin Moss, “Over the Garden Fence”, 1947
Colin’s passion for social realism dated back to his student days at the Royal College of Art. His 1936 painting, Hunger Marches, was part of his Diploma show in 1937. Based on the 1936 march to London by the unemployed men of Jarrow, Colin’s painting captures the dignity of the men, stoically walking through the rain in their capes.
Colin Moss, “Hunger Marchers”, 1936
His unconventional decision to paint the men as they were seen from behind, emphasised their upright determination as a body of humanity rather than as a collection of individuals. This was a device which would become something of a trade mark in several of Colin’s future work. Even though it is easy to draw some sort of political message out of his work, Colin never once joined a political organisation. His party neutrality meant that people could view his work as a document of post war life; rather than as party propaganda.
Colin Moss, “Uphill Workers”, 1955
Amongst the artistic community in 1930’s Britain there was an intent to show ordinary people doing ordinary things (often referred to as “kitchen-sink” art) and this fascination with the “everyday” became an essential part of Colin’s artistic drive.
Colin Moss, “London Pub Scene”, 1939
Returning to Ipswich after the war he was struck by how much the town resembled a Coronation Street style northern conurbation with little houses around the middle of the town and enormous pubs. In his own words “It was a very Arnold Bennett kind of town”. Post war Ipswich was one that was gritty and tough with rationing still a feature well into the 50s and the majority of the working men employed in heavy industry. Colin’s hostility to sensationalism, gave his work a much more relatable edge as when people would view his work they could see their own experiences reflected in his work.
For more information about “Window Cleaner” 1955, click here.
Post-war Ipswich’s industrial heritage included names that were widely known in Britain and across the world. Engineering companies such as Ransomes, Sims & Jeffries, Ransomes & Rapier and Cranes exported goods around the globe and employed generations of Ipswich workers. Colin’s 1950 ink and gouache drawing “Ipswich Cyclists” captures three workmates cycling home in the dark from work. One man leans across to chat to his fellow cyclists and the headlamps of the three bikes glow in the gloom. Interestingly, men on bikes appear quite frequently in Colin’s work as this was the main means of transport for workers before mass affordable cars. In fact, during the 50s, Ipswich was supposed to have more bicycles per head of population than any other town in the country!
For more information about “Ipswich Cyclists” 1950, click here.
Long hours working hard in the dust and heat at the Ipswich based Ransomes Sims & Jefferies engineering plant was the way of life for thousands of locals. The sound of the Ransomes’ bull horn would summon the men to the RSJ works, which, until the 1960s was on a vast site around Duke Street and Ipswich Dock. “The Bull” kept time, not only for staff of RSJ, but others all around town, including children in the local schools. Despite the above companies dominating life within the town, nowadays the industrial scene in Ipswich is a shell of what it is with most of the factories themselves being demolished.
As well as the industrial side of life, Colin also drew and painted domestic scenes – a woman hanging out washing or brushing the front step, his mother rolling out pastry. Each image a snapshot of a life from a bygone age but which captivates the eye, and the heart, with its “mundane” humanity.
Colin Moss “The Artist’s Mother Making Pastry” 1962
Colin’s kitchen-sink realism was just one strand of his extraordinarily multi-faceted career but possibly was the work that was closest to Colin Moss the man. And his interest in the lives of ordinary people carried on throughout his career in art. His in interest in the regular meant that he could portray life on the streets without the condescension that so many artists seem to do; and this ultimately makes his work so much more poignant.
From the artist’s sketchbook 1995
“As an artist Colin drew and painted what he saw around him. His work functions not only as great art but also as a valuable social document about what life was like in Ipswich and across the country from the late 1940s until his death in December 2005. His portraits of workers leaving the Ransomes & Rapier factory, prostitutes on street corners, old women walking to the shops, laden with bags are an important part of Moss’s artistic legacy to the town.”
Andrew Clarke – Arts Editor at East Anglian Daily Times
Colin Moss “On the Streets, Then & Now” 1992