Art lovers will be interested to read:

Swansea-born Evan Walters (1893-1951) was one of a group of Welsh artists (with Vincent Evans and Archie Rhys Griffiths) who represented, with stark honesty, the industrial communities in which they had been reared.

Walters' work captured all aspects of life in a coal mining community, the landscape in Cefn Cyfelach Colliery (1911), the weary wife suckling her child in Mother and Babe (1919).

Art historian, Peter Lord comments on the 'surprise' with which Walters' work was greeted at his first solo show in Swansea in 1920, where observers were "...excited at seeing their industrial community portrayed in an art gallery [the Glynn Vivian] for the first time." ( Industrial Society , p.185)

His later work covered the politics of the coalfield in The Communist (c.1932), the despairing reality of The Dead Miner (c.1935) as well as a number of portraits of 'the miner' including this Welsh Collier (1931) about to 'light up' at the end of his shift. The sitter is believed to be the artist's brother.

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(Detail courtesy of Swansea Heritage Net)