Observing the Human Experience in an Industrial Landscape: 'Matchstick Man' L.S. Lowry

Charlotte Wensley
Sep 23
6 min read

Industrial cityscape with factory chimneys emitting smoke, buildings in muted colors, and small figures in the foreground. A somber, busy mood. — *Industrial Landscape (*1944)

L.S. Lowry is an iconic figure in the world of art, known for bringing the industrial landscapes and lives of the working-class people of Northern England in the mid-1900s, to life.

His exceptional talent for observing the ordinary and transforming it into captivating artwork makes his pieces timeless. From bustling cityscapes to the intimate moments of working-class life, Lowry's art evokes strong emotions, human connections and nostalgia.

| Lowry's Early Life

Laurence Stephen Lowry was born on November 1, 1887, in Stretford, in the north of England, he was an only child and was raised in the leafy outskirts of Manchester.

His father was an estate agent, his mother an aspiring pianist. Although the family was middle class, financial difficulties meant they had to move to the insalubrious industrial area of Pendlebury when Lowry was still a young boy.

Later on, and to help make ends meet, Lowry left school at 16 and became a clerk at an accountancy firm.

Living in Pendlebury, a center of textile manufacturing, Lowry began to develop a fascination with its grim yet vibrant urban environment that would ultimately shape his artistic vision.

Given his day job and the seemingly naive style of his paintings, it was long assumed that Lowry was self-taught. Though he faced challenges early on in his artistic career, he took evening classes in painting and drawing at the Salford School of Art and the Municipal College of Art, where he studied under the French Impressionist Pierre Adolphe Valette and where his passion for drawing and painting blossomed.

Pencil sketch of rolling hills and valleys under an overcast sky. A distant building is visible on the horizon, setting a serene mood. — *Moorland with Ruined Farmhouse* (1920)

Lowry never adopted an Impressionist technique or colour range — he often claimed to use just five colours. What he did share with the Impressionists, though, was a fondness for capturing modern life, in an urban landscape.

But his distinctive style—characterized by simplified forms and a limited color palette—was met with criticism (particularly from his mother). Despite this, Lowry's dedication to his craft never wavered. He drew inspiration from the people and places around him, crafting images that told powerful stories about the human experience.

Elderly man in hat observes an industrial townscape with a viaduct and river. Overcast mood, brick buildings in the background. Monochrome. — LS Lowry and Stockport Viaduct

Lowry was never a full-time artist: in his early twenties, he took a job as a rent collector, and this would be his primary trade for the next four decades. But he painted most days after work, late into the night.

Today, Lowry is best remembered for his busy scenes of England’s industrial north, complete with looming mills, imposing factories, smoking chimneys and massed ranks of workers. He captured the great industrial progress of the 20th century in a way than no-one else had done before him. His stylised figures were often referred to as ‘matchstick men’ and became a feature of his landscapes.

Beyond the cityscapes, which he is most famous for, Lowry also painted haunting portraits in the mid-to-late 1930s. It’s unclear whether his subjects were real people: Lowry appears to have mixed his own features with those of men and women he passed on the street. The rather dark mood of these pictures, it has been said, was influenced by the death of Lowry’s father in 1932, and the long-term illness of his bedridden mother, with whom Lowry still lived.

Three somber men in dark suits stand against a muted background. The central man wears a bowler hat. Their expressions appear serious. — *Father and Two Sons* (1950)

He had a love of football, and the sea, which he painted a number of times in the 1940s, 1950s and 1960s. His expanses of water and sky, separated only by the horizon line, are so empty they border on abstraction. Free of human beings, they are testament to the immeasurable power and presence of nature that he felt.

Calm ocean under a cloudy sky, soft blue and gray tones, creating a serene and tranquil mood. No text visible. — *Seascape* (1945)

Silhouetted figures on a dark hill against a pale sky and calm water. The mood is serene and minimalist. — *A Footbridge near Newbiggin-by-the-Sea* (1964)

Despite working full-time as a rent collector, Lowry enjoyed great recognition for his art in his lifetime. In 1948, as he started to earn good money as a painter, Lowry moved to the affluent village of Mottram in Longdendale, near Manchester. He also began collecting work by artists he admired, particularly the Pre-Raphaelite Dante Gabriel Rossetti. He had his first solo show in London in 1939 at the Lefevre Gallery in Mayfair, was elected a Royal Academician in 1962 and he served as a visiting tutor at the prestigious Slade School of Fine Art in London.

He died in February 1976 at the age of 88, unmarried and childless.

| Artistic Style and Techniques

Lowry's artistic style is instantly recognizable, particularly through his use of a limited color palette and his depiction of the human figure in elongated form. These figures often found themselves immersed in lively urban environments, engaging in everyday activities that described the lives of the working class.

For example, in Coming Home from The Mill he portrayed a multitude of individuals leaving the factory gates, their small, stick-like figures hurrying home, heads seemingly bent against the chimney laden sky and the cold, damp afternoon. It's a testament to his ability to capture human experience in a few simple lines. This painting illustrates the challenging realities of industrial work while simultaneously celebrating a sense of unity among the workers. The emotion behind the scene is palpable.

Eye-level view of a vibrant industrial landscape with matchstick figures — *Coming Home From The Mill* (1930)

Lowry primarily used oil paints and drawing techniques in his work. His unique application using a palette knife allowed him to create physical texture and visual depth. His muted color palette—dominated by greys, browns, and greens, (said to be vermilion, ivory black, Prussian blue, yellow ochre and flake white), reflected the industrial settings he frequently depicted. In paintings like Millworkers (1948) Lowry gives life to factories, smokestacks, and the energy of urban existence, conveying both movement and vitality.

Factory scene with people walking and a dog. Industrial buildings in the background emit smoke. Muted colors, conveying a somber mood. — *The Millworkers* (1948)

| Major Works and Themes

Over his prolific career, Lowry created a vast body of work. Among his most notable pieces is The Football Match which explores themes of community, and the human condition, highlighting Lowry's profound connection to his working class subjects.

Industrial cityscape with factories, smokestacks billowing smoke, and a crowded football match in the foreground. Overcast and bustling. — *The Football Match* (1949)

| Connections to my hometown of York in Northern England

In 1952 Lowry was commissioned by the York Art gallery to paint a scene of the city for its annual Evelyn Award, for the sum of £50. The award ran from 1950 to 1962 and asked a respected artist of the time to paint a scene of the city for the gallery’s collections.

He painted two for the then curator to choose from, with the one of Clifford’s Tower being purchased by the gallery. The other work A View of York (From Tang Hall Bridge) and a third (Wilson's Terrace), which he did during his time in the city were both purchased by private collectors.

A castle on a hilltop with people walking nearby. A pale sky, and muted greens and browns create a serene atmosphere. — *Clifford's Tower - York* (1952)

Lowry was already a well-known and established artist when he came to York in 1952. Leading figures in York suggested to Lowry scenes which would ‘blend gothic and industry’ but he instead chose to depict the iconic Clifford’s Tower (Clifford's Tower York). If you look closely you can pick out York’s industrial buildings in the background of the ancient stone tower.

Children playing in a park near pink houses and factories with smokestacks. People stroll along a path, creating a lively, airy scene. — *A View of York (from Tang Hall Bridge)* (1952)

Street scene with people walking, chatting near a corner building labeled "Wilson's Terrace." Dark clothing contrasts with muted houses, smoke rising. — *Wilson's Terrace* (1953)

In turn, I have vivid memories of visiting an industrial textile mill in Bradford as a child, which had long since become a museum. Looking back it's not hard to see where Lowry's inspiration and observational painting came from!

| Enduring Legacy and Influence

Lowry left behind a legacy that continues to touch the hearts of many to this day. His unique artistic perspective has inspired countless artists to explore their own immediate environments. Today, Lowry's works are on display in galleries and museums across the UK, with the Lowry Gallery in Salford, dedicated to his contributions. He is perhaps the UK's most recognisable artist of modern times.

High angle view of the Lowry art gallery in Salford — A view of the Lowry art gallery in Salford showcasing his works.

| Final Thoughts

Lowry's life and work highlight the importance of observation in art. Recognized for his unique style—marked by matchstick figures and industrial scenes—he encourages us to find beauty in everyday life. Each painting invites viewers to reflect on their surroundings and the human stories held within them.

Lowry's legacy reminds us to appreciate the ordinary experiences in life. Through his work, he showed us that even the simplest moments can speak volumes about the human spirit and the world we inhabit. He was a true master of observation, inspiring future generations to engage deeply with their craft, take in their environment and respond with humanity.