DARK SATANIC MILLS

Milan, 12 March 2019

Right from the start of the industrial revolution, artists were fascinated by the factories which glowed red in the night or sent flames leaping up into the night sky – William Blake’s dark satanic mills. Here is a series of paintings on this theme.

Coalbrookdale by Night (1801) by Philip James de Loutherbourg (1740-1812). Photo credit: Science Museum / Science & Society Picture Library
The Steelworks, Cardiff at Night (1893-7) by Lionel Walden (1861-1933). Photo credit: Amgueddfa Cymru – National Museum Wales
Dowlais Works at Night (1929) by Charles William Mansel Lewis (1845-1931) (attr. to). Photo credit: Merthyr Tydfil Leisure Trust. Distributed under a CC BY-NC-ND licence
Lever House Mural (date unknown) by Leonard Henry Rosoman (1913-2012), © the artist’s estate. Photo credit: Williamson Art Gallery & Museum
Industrial Landscape (Hulme, Manchester in the Sixties) by John Bold (1895-1979), © the copyright holder. Photo credit: Salford Museum & Art Gallery
BP Baglan Bay at Night (1963) by Andrew Vicari (1938-2016), © the copyright holder. Photo credit: Amgueddfa Cymru – National Museum Wales
Industry (1987) by Leslie Frederick Clarke (1907-2000), © the copyright holder. Photo credit: Erewash Borough Council

Much of that fire has emanated from iron and steel works, whose interiors have also drawn artists – like moths to a flame, we could say.

The Wealth of England, the Bessemer Process of Making Steel (1895) by William Holt Yates Titcomb (1858-1930). Photo credit: Sheffield Industrial Museums Trust
Bessemer Process Plant, Abbey Works, Margam (1958) by Charles Ernest Cundall (1890-1971), © the artist’s estate / Bridgeman Images. Photo credit: Amgueddfa Cymru – National Museum Wales
Steelworkers (1940) by Roland Vivian Pitchforth (1895-1982), © the artist’s estate. Photo credit: Herbert Art Gallery & Museum
Tapping a Blast Furnace (1957) by Charles William Brown (1882-1961), © the copyright holder. Photo credit: The Potteries Museum & Art Gallery
Last Tapping of the Blast Furnace at Brymbo (c. 1978) by Jan Boenisch, © the artist’s estate. Photo credit: Wrexham County Borough Museum and Archives

While the molten metal went on to further working, the slag from the foundries was thrown onto heaps where, still incredibly hot, it glowed sullenly until it had cooled sufficiently.

Tipping the Slag (date unknown) by Edwin Butler Bayliss (1874-1950), © the artist’s estate. Photo credit: Wolverhampton Arts and Heritage

These slag heaps must have looked quite satanic at night, giving off a deep red glow.

Rolling mills, where molten – or at least red-hot – metal is rolled out, have also been a constant source of artistic inspiration.

Interior of a Rolling Mill (1855-65) by Godfrey Sykes (1824-1866). Photo credit: Science Museum / Science & Society Picture Library
Hot Strip Mill (c. 1952) by Norman Hepple (1908-1994), © the artist’s estate / Bridgeman Images. Photo credit: Ebbw Vale Works Archival Trust
Rolling Mill, Avesta, Sheffield (1990) by M. Lawrance, © the copyright holder. Photo credit: Sheffield Industrial Museums Trust

Forging, too, has had its enthusiasts.

The Tyre Mill (1940-44) by Edith Grace Wheatley (1881-1970), © the artist’s estate. Photo credit: Science Museum / Science & Society Picture Library
‘Becking’, Locomotive at Blaenavon Works, 1947 by R. Smith (possibly), © the copyright holder. Photo credit: Torfaen Museum Trust

Moulding has also attracted followers.

Ley Maleable Works, Lincoln (1920) by L. Hare, © the copyright holder. Photo credit: Museum of Lincolnshire Life
Pouring Metal into Moulds (date unknown) by Norman Biddle (1932-2000), © the artist’s estate. Photo credit: Sandwell Museums Service Collection

I finish with a spray of sparks

Scarfer (1971) by John Collins, © the copyright holder. Photo credit: Ebbw Vale Works Archival Trust

and a homage to the men who spent their working lives in those dark satanic mills.

The Black-Country Steelworkers (1992) by Andrew Tift (b. 1968), © Andrew Tift. Photo credit: The New Art Gallery Walsall

This last picture is an introduction to my next post, which will cover the theme of industrial workers.

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All photos from the Art UK website.

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Abellio

I like writing, but I’ve spent most of my life writing about things that don’t particularly interest me. Finally, as I neared the age of 60, I decided to change that. I wanted to write about things that interested me. What really interests me is beauty. So I’ve focused this blog on beautiful things. I could be writing about a formally beautiful object in a museum. But it could also be something sitting quietly on a shelf. Or it could be just a fleeting view that's caught my eye, or a momentary splash of colour-on-colour at the turn of the road. Or it could be a piece of music I've just heard. Or a piece of poetry. Or food. And I’m sure I’ve missed things. But I’ll also write about interesting things that I hear or read about. Isn't there a beauty about things pleasing to the mind? I started just writing, but my wife quickly persuaded me to include photos. I tried it and I liked it. So my posts are now a mix of words and pictures, most of which I find on the internet. What else about me? When I first started this blog, my wife and I lived in Beijing where I was head of the regional office of the UN Agency I worked for. So at the beginning I wrote a lot about things Chinese. Then we moved to Bangkok, where again I headed up my Agency's regional office. So for a period I wrote about Thailand and South-East Asia more generally. But we had lived in Austria for many years before moving to China, and anyway we both come from Europe my wife is Italian while I'm half English, half French - so I often write about things European. Now I'm retired and we've moved back to Europe, so I suppose I will be writing a lot more about the Old Continent, interspersed with posts we have gone to visit. What else? We have two grown children, who had already left the nest when we moved to China, but they still figure from time to time in my posts. I’ll let my readers figure out more about me from reading what I've written. As these readers will discover, I really like trees. So I chose a tree - an apple tree, painted by the Austrian painter Gustav Klimt - as my gravatar. And I chose Abellio as my name because he is the Celtic God of the apple tree. I hope you enjoy my posts. http://ipaintingsforsale.com/UploadPic/Gustav Klimt/big/Apple Tree I.jpg

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