Paper

Student Artwork Guide

Miner

Name Class Date

Evan Walters, Miner (1927). Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Evan Walters originaluniqueart.com/en/artists/evan-walters/
Artist’s dates
1892 – 1951
Painted
1927
Original size
60 x 48 cm
Movement
Expressionism Colour and shape deliberately distorted so the picture shows an emotion rather than a likeness.

In context

Miner — Evan Walters

How big is it?

The original measures 60 × 48 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1890
  2. 1900
  3. 1910
  4. 1920
  5. 1930
  6. 1940
  7. 1950

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 59 at death.

Painted when the artist was 35. The artist lived to 59. 23 of the 106 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Evan Walters (1892–1951) ▲ this work, 1927 every dated painting, decade by decade

First works: up to 1929 Main working years: 1929–1940 Late works: from 1940

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/evan-walters-miner-AQS629-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #2c342b

    Catalogued palette

    • #2C342B
    • #0D130E
    • #B7A58C
    • #48534E

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Phthalo Green
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Softly Mixed Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Evan Walters over the last twelve months — 5 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 64.5%
    2. 2 United Kingdom 25.8%
    3. 3 United States of America 6.5%
    4. 4 Argentina 1.6%
    5. 5 Netherlands 1.6%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Evan Walters

    1. 1 Self Portrait with Candle, 1939 4.7%
    2. 2 Red Rambler Rose, 1940 3.1%
    3. 3 Portrait of a Young Man, 1910 3.1%
    4. 4 Landscape with a Church Steeple, 1936 3.1%
    5. 5 The Artist's Father, 1943 3.1%
    6. 6 Abstract Heads in Grey 3.1%
    7. 7 Old Lady Reading, 1940 1.6%
    8. 8 Merry Go Round, 1930 1.6%
    9. 9 Welsh Funeral Hymn, 1950 1.6%
    10. 10 Self Portrait, 1919 1.6%
    11. 11 Self Portrait, 1940 1.6%
    12. 12 Dewi yn Llanddewi Brefi (c.500–581), 1949 1.6%
    13. 13 Street Scene, 1930 1.6%
    14. 14 Eve, 1920 1.6%
    15. 15 Mistress and Maid, 1947 1.6%
    16. 16 Seated Girl Putting on Her Shoe, 1940 1.6%
    17. 17 The Hydrangea, 1933 1.6%
    18. 18 John Sankey (1866–1948), 1st Viscount Sankey, 1937 1.6%
    19. 19 Mother and Baby, 1930 1.6%
    20. — Miner, 1927 this painting 0.0%

    Together these works take 41.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 167 works by this artist, of which 57 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Evan Walters

    The Soul of the Welsh Landscape: The Life and Vision of Evan Walters

    Evan John Walters stands as a singular figure in the tapestry of Welsh art history, a visionary whose brush bridged the gap between industrial grit and profound artistic expression. Born in 1893 in Llanfylech, nestled within a landscape defined by both rural tradition and the burgeoning shadows of industry, Walters possessed an innate sensitivity to the textures of his homeland. His formative years, spent amidst the valleys of Llangyfelach and Mynyddbach, instilled in him a deep-seated connection to Welsh culture and language—a foundation that would later allow him to translate the heavy atmosphere of mining communities into evocative visual narratives.

    His artistic journey was one of both practical discipline and academic refinement. Beginning his training at Morriston Technical School, Walters developed a foundational skill set as a painter and decorator, a craft that granted him a unique, tactile understanding of surface and pigment. This technical grounding was later elevated through rigorous studies at the Swansea School of Ser Art and the Regent Street Polytechnic in London. As he moved toward the Royal Academy Schools, his work began to absorb the broader currents of European modernism, particularly the emotive power of Expressionism, which would eventually infuse his portraits and landscapes with a haunting, psychological depth.

    From Camouflage to Character: A Transformative Career

    The trajectory of Walters's life was irrevocably altered by the tides of global conflict. In 1915, amidst the upheaval of World War I, he emigrated to America, serving in a capacity that demanded an extraordinary mastery of color and perception: as a camouflage painter. This period of meticulous observation—learning to manipulate light, shadow, and shape to deceive the eye—sharpened his ability to translate complex visual information into powerful artistic statements. It was during this era of global movement that his technical precision met a growing interest in the human condition.

    Upon returning to Wales after the war, Walters transitioned into a celebrated portrait artist, renowned for his ability to capture not just a likeness, but the very essence of his subjects. His career was significantly bolstered by the transformative patronage of Winifred Tennant, whose early recognition of his talent provided him with the stability to explore more ambitious themes. Through her commissions, Walters moved beyond simple representation, using the portraiture of the era's influential figures to weave a deeper social commentary into his repertoire.

    A Legacy of Texture and Emotion

    The enduring significance of Evan Walters lies in his ability to find beauty within the industrial struggle. His oeuvre is characterized by a remarkable versatility, ranging from the intimate warmth found in works like Eve to the vibrant, textured vitality of Still Life with Chrysanthemums. Whether he was depicting the heavy, soot-stained atmosphere of a mining village or the delicate play of light on a floral arrangement, his work remained anchored in a profound respect for the subject's inherent character.

    Walters's contributions to 20th-century art are marked by several key elements:

    The Synthesis of Styles: His unique ability to blend classical Royal Academy techniques with the raw, emotive energy of Expressionism.

    Social Documentation: His role in documenting the changing face of Wales, capturing the dignity of the working class and the shifting industrial landscape.

    Technical Mastery: A sophisticated use of color theory and texture, likely influenced by his early experiences in camouflage and decorative arts.

    Today, the works of Evan Walters serve as a vital window into a bygone era of Welsh identity. He remains an artist who did not merely observe the world but felt its weight, leaving behind a legacy that continues to resonate with anyone seeking the intersection of historical truth and poetic beauty.

    Where to read more

    Find this online

    QR code linking to the download page for Miner

    originaluniqueart.com/en/art/download/evan-walters-miner-AQS629-en/

    Cite this artwork

    MLA
    Walters, Evan. Miner. 1927, https://originaluniqueart.com/en/art/evan-walters-miner-AQS629-en/
    APA
    Walters, Evan (1927). Miner [Painting]. https://originaluniqueart.com/en/art/evan-walters-miner-AQS629-en/
    Chicago
    Evan Walters. Miner. 1927. https://originaluniqueart.com/en/art/evan-walters-miner-AQS629-en/
    Harvard
    Walters, Evan (1927) Miner. Available at: https://originaluniqueart.com/en/art/evan-walters-miner-AQS629-en/

    Look closely

    Miner — Evan Walters

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: portrait, mining, wales. Do you agree? What would you add, or take away?
    4. Look back at Old Lady Reading (1940), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Expressionism: Colour and shape deliberately distorted so the picture shows an emotion rather than a likeness. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Which color stands out most in "Miner"?

    The dominant color of "Miner" by Evan Walters is phthalo green (#2c342b).

    What does "Miner" share with the rest of Evan Walters's output?

    "Miner" belongs to Evan Walters's Expressionism work, whose recorded themes include industrial hardship, welsh roots, expressionist social critique, post-war anxieties, introspection, tennant's patronage, artistic shift, strike imagery.

    Is Evan Walters, creator of "Miner", known under other names?

    Evan Walters is also known as Evan John Walters.