Theodore Major – Social Commentary

Theodore Major, whose paintings were described by art critic and novelist John Berger as ‘Among the best English paintings of our time’, was renowned for his evocative and often somber depictions of industrial landscapes.

Major who grew up in humble circumstances in Wigan and famously owned two semi detached houses in Appley Bridge, near Wigan, in which he lived in one and painted from the other.  In the late 1980s and early 1990s he found himself in conflict with Wigan council over the controversial poll tax which he was vehemently opposed to.  This conflict not only highlighted the struggles of an artist under financial strain but also underscored the broader public discontent with a deeply unpopular tax policy.  It also inspired the monumental and important painting ‘Big Brother is Alive and Well and Living in Wigan’ which is currently on show and available to purchase in our Wilmslow gallery.

The painting itself which hangs at 5’ wide x 4’ tall, depicts the tax inspector and authority figures as skeletons and towering over the tiny artist who toils away at his easel against the backdrop of Wigan’s industrial skyline.  Also annotated with the words ‘Redevelopment’ and ‘Big Brother’, it clearly reflects the artist’s feelings about the interference of the state and their misdirection and negative impact on society.

Theodore Major: An Artistic Luminary

Born in Wigan, Lancashire, in 1908, Theodore Major dedicated his life to art. His works, often characterized by a stark and brooding portrayal of Northern England’s industrial heartlands, garnered significant acclaim. Major’s paintings reflected the gritty realities of working-class life, and his distinct style set him apart as a significant figure in 20th-century British art.

Despite his success, Major remained a staunch advocate for social justice. His personal and political beliefs often infused his art, making his works not just visual experiences but also commentaries on the human condition and societal issues.

The Poll Tax Controversy

The poll tax, officially known as the Community Charge, was introduced by the Conservative government under Prime Minister Margaret Thatcher in 1989. It replaced the rates system and levied a flat-rate tax on every adult, irrespective of income. The tax was widely criticized for being regressive, disproportionately affecting the less affluent.

Major, like many others, was vehemently opposed to the poll tax. His opposition was not merely rhetorical; he actively refused to pay it, aligning himself with a nationwide movement of civil disobedience against the tax. This act of defiance placed him in direct conflict with Wigan Council, which was responsible for collecting the tax.

Clash with Wigan Council

Wigan Council, like many local authorities at the time, faced significant challenges in enforcing the poll tax due to widespread resistance. Major’s refusal to pay was emblematic of the broader public sentiment. His stand against the tax was not just a personal protest but also a statement of solidarity with the working class, many of whom were struggling under the new tax regime.

The council’s attempts to collect the unpaid tax from Major included threats of legal action and other enforcement measures. However, Major remained steadfast in his refusal, willing to face the consequences rather than comply with what he saw as an unjust policy.

Impact and Legacy

Theodore Major’s battle with Wigan Council over the poll tax was part of a larger narrative of resistance that ultimately led to the tax’s downfall. The widespread protests and non-payment campaigns, of which Major was a part, created immense political pressure. The poll tax was eventually abolished in 1993, replaced by the Council Tax, which took into account the ability to pay.

Major’s defiance resonated with many and cemented his legacy not only as an artist but also as a figure of principled resistance. His actions during the poll tax crisis are remembered as a courageous stand against economic injustice, aligning his personal convictions with his public life.

Conclusion

Theodore Major’s issues with Wigan Council over unpaid poll tax exemplify the intersection of art, politics, and social justice. His refusal to pay the tax highlighted the widespread dissatisfaction with an inequitable system and contributed to the broader movement that eventually led to its repeal. Major’s legacy is thus twofold: as an artist who captured the soul of Northern England and as a citizen who stood firm in the face of injustice.

View the current collection of original paintings by Theodore Major in our galleries by clicking here.