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204:, negotiating 100 guineas plus expenses; even the higher figure was, she said "infinitely lower than I should ask for any other work than that connected to the war". Knight offered to accept the 75 guinea fee, but only if it could be painted in her studio. The WAAC responded that, although they were grateful that she was working at a much lower level of fees than her pre-war rates, the policy was that all work commissioned was "on a virtually fixed scale of fees irrespective of the status of the artist". The committee added that as Loftus was too valuable to be released from the factory, they would agree to Knight's 100 guinea request; she travelled to
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303:. She wears paint-splattered overalls and make-up, the latter emphasising her femininity. By leaning over the workbench her face is placed in the horizontal centre of the picture, accentuating her importance. Her face is highlighted with the reflection of the light shining on the wet metal. The social historian Elizabeth de Cacqueray observes that Loftus's head and the highlighted metal disk face each other along the diagonal of the picture, with Loftus's head scarf and face repeated ovals that reflect each other.
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179:, women working in war production considered their abilities to be under used, and that potential employees perceived factory girls to be "low class, rough, dirty and immoral". Women, in particular, were more likely to be absent from work than men, with childcare and running the household the probable reasons, according to the
355:, Knight adopts what they call a "documentary approach" to the machinery that "has the verisimilitude of a photograph but makes a far more powerful impact". In this manner, the painting is similar to many examples of British wartime cinema that depicted the working class in an unsentimental manner.
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The background of the painting shows the rest of factory floor, populated with women working at their benches; there is one man present, probably the foreman, given that he wears a tie. The clothing worn by the women carries a patriotic tone, according to the art historian Mike McKiernan, as reds,
327:
The painting shows Loftus cutting the screw threads which would attach the barrel to the breech housing of the gun as sparks and water droplets come off the lathe. According to Foss her workspace is "clean and efficient-looking", while the natural approach to the work—and the level of technical
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Loftus was a 21-year-old woman who had quickly become an expert in the production of breech-rings—in seven months, rather than the several years it normally took. The painting was commissioned to promote women's work in factories; women dominate the picture, and only one man is visible, in the
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Looking back at the works Knight painted for the WAAC, Clark wrote to her "The pictures you have done for us have been an immense success from every point of view". The success of the painting led to further industrial commissions for Knight throughout the 1940s. In 1945 she painted
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The painting returned to
Newport in 2006 for display as part of a project recording the recollections of women who had worked at the Royal Ordnance Factory. Throughout 2013 and 2014 the painting was lent by the Imperial War Museum for display at the
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The picture shows a woman doing what was traditionally a man's job, and, according to Grimes, Collins and
Baddeley, helped to popularise a "new, active image of femininity". In this respect it has been likened to the American figure of
251:. This was the most complex task at ROF Newport and any lack of precision in forming the breech-ring could result in the gun being destroyed when fired; the task was normally assigned to a worker with up to nine years' experience.
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is similar to other works by Knight in showing a female worker focused on her work. The art historian
Catherine Speck writes that Loftus's feminine features and clean hands "affirm the temporary nature of ... work 'for the
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on canvas measuring 86.3 by 101.9 centimetres (2.83 ft × 3.34 ft). It is one of the largest pictures of the wartime commissions, and the largest of the single-figure portraits they acquired. The painting is in the
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John Green in
September 1943, and took her husband's surname. After the war, she was offered an opportunity to take an engineering course, but decided against it and emigrated to Canada with her husband, eventually settling in
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on 30 April 1943. Loftus was present that day to see the picture, and was interviewed by the press about her involvement. The following day the painting was reproduced in several national newspapers. The critic for
428:. The picture was also reproduced in a large-scale poster version by the WAAC; it was displayed in factories across the country. It became one of the most well-known and popular works commissioned by the WAAC.
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124:, the painting was extremely popular, and was voted the picture of the exhibition. The image was reproduced in a large-scale poster version by the WAAC for display in factories across the country.
287:, which is in the act of cutting the screw of the breech. Her fingers rest on the machinery as she concentrates on the work she is doing. According to the cultural historian Barbara Morden,
489:. This was followed by paintings of operations at the Dow Mac concrete railway-sleeper works and at the Skefko ball bearing factory. In 1946 she visited Germany under the auspices of the
477:. Loftus's husband died in 2003, and she died in June 2004 at the age of 83. In 2015 Loftus Garden Village, a housing development named after her, was built on the site of ROF Newport.
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featuring the painting, Knight and Loftus, was released into
Britain's cinemas on 10 May 1943; Loftus found herself in the public eye and quickly famous from the coverage, although
469:, Canada. In British Columbia, she worked as an apple packer, in a post office and as a correspondent for a local newspaper. She travelled to London to see her portrait in the
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According to the cultural historian
Barbara Morden, Loftus is depicted as "a young and attractive woman"; with brown curly hair not quite contained under a green headscarf or
614:
The art historians Teresa Grimes, Judith
Collins and Oriana Baddeley consider it "heightened realism; the social historian Elizabeth de Cacqueray calls it "strongly realist".
148:. The committee was "to draw up a list of artists qualified to record the war at home and abroad". One of those commissioned on several occasions was the British painter
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Robb, Lindsey (2017). "'Fighting In Their Ways'? The
Civilian Man in British Culture, 1939–1945". In Crowley, Mark J.; Trudgen Dawson, Sandra (eds.).
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Foss states that before the war Knight would have accepted commissions of about 400 guineas for a large canvas work (as the portrait of Loftus was).
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was first exhibited. According to Foss, "despite the similarity in their two names ... these two wartime icons could hardly be more different.
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243:. Loftus had no prior experience of heavy machinery or the industrial workplace, but she became highly skilled in seven months in making the
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thought the picture had "a certain brutal vigour", that made it "hard to take in all the detail without strain"; W. T. Oliver, writing in
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Detail of the background, showing one man among the working women; the patriotic colours of red, white and blue are repeated throughout
296:" of the war; in this way the painting feels to Speck more like propaganda, rather than an image of Loftus going about her usual work.
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418:, disbelieving the stories of Loftus's prowess in the task, travelled to Newport to check on her skills. They returned satisfied.
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Foss says Knight was commissioned in
October 1942; the art historians Catherine Speck and Kathleen Palmer say it was in December.
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found "little pleasure in Dame Laura's brand of realism", but admired "her energy, her disciplined thoroughness and conviction".
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details captured in the picture—"had the desired effect of testifying to Loftus's exploit being an indisputable fact".
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Discontent within the factory workforce lead to strikes in the UK in the lead up to
January 1943. According to the
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1557:"Re-presenting Reality, Recovering the Social: The Poetics and Politics of Social Realism and Visual Art"
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style; the cultural historian Gillian Whiteley considers the painting resembles the works of the Soviet
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Knight was commissioned to paint Ruby Loftus in late 1942. She was a machine operator described by the
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whites and blues dominate. According to the cultural historian Lindsey Robb, the painting—along with
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1699:"'You Weren't Taught That with the Welding': Lessons in Sexuality in the Second World War"
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1444:. London: M. Joseph in association with the Imperial War Museum and the Tate Gallery.
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Oliver, W. T. (1 May 1943). "Royal Academy's Restfulness, A Refreshing Exhibition".
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Women and the Machine: Representations from the Spinning Wheel to the Electronic Age
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Brian Foss. With a shortage in the number of women working in the factories, the
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1116:"Royal Academy Portrait of Girl". British Universities Film & Video Council"
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in May 1962, where she was accompanied by Knight. She was later diagnosed with
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205:
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1610:"Painting the Second World War in Great Britain: A Selection of Women's Views"
2009:
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Britain's War Machine: Weapons, Resources and Experts in the Second World War
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348:—"reinforce the representation of industrial work as female" during wartime.
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1742:"Human touch: Laura Knight's NPG show is a timely reminder of her talent"
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86 cm × 100 cm (34 in × 40 in)
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Women and War: A Historical Encyclopedia from Antiquity to the Present
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235:, London. In 1943 she was 21 years old and engaged to John Green, a
1519:. Woodbridge, Suffolk: Antique Collectors' Club. pp. 387–420.
915:
407:
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1442:
The War Artists: British Official War Art of the Twentieth Century
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According to the art historians Teresa Grimes, Judith Collins and
231:), having previously been an assistant at a tobacconist's shop in
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1879:
1731:"Gallery girl has day off to see her portrait at the Academy".
876:"Gallery girl has day off to see her portrait at the Academy".
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was shown at the 1947 Engineering and Marine Exhibition at the
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as "an outstanding factory worker". Knight, who was working on
1821:. The British Universities and Colleges Film and Video Council
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over three weeks. The work was completed by the end of March.
1384:
War Paint: Art, War, State and Identity in Britain, 1939–1945
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1664:"Dame Laura Knight Ruby Loftus Screwing a Breech-ring 1943"
1537:
Beyond the Battlefield: Women Artists of the Two World Wars
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167:; the breech is housed at the right-hand side of the weapon
1421:
Grimes, Teresa; Collins, Judith; Baddeley, Oriana (1991).
440:'s picture of Rosie appeared on 29 May 1943—a month after
1635:
Dunbar, Janet (2009). "Knight , Dame Laura (1877–1970)".
1133:"Loftus Garden Village: The story". Loftus Garden Village
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pushed for the war artists to depict production workers.
152:, who had painted for the Canadian government during the
1493:. Woodbridge, Suffolk: Boydell Press. pp. 146–164.
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1455:. Pembroke Dock, Pembrokeshire: McNidder and Grace.
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1217:"Loftus Garden Village: News". Loftus Garden Village
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exhibition. As at 2024, the painting is held in the
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Home Fronts: Britain and the Empire at War, 1939–45
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263:Detail showing Loftus's face focusing on her work
2007:
1565:. London: Palgrave Macmillan. pp. 132–171.
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2051:United Kingdom home front during World War II
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1697:Summerfield, Penny; Crockett, Nicole (1992).
1562:British Social Realism in the Arts since 1940
223:, London was bombed. She was employed by the
1978:Art competitions at the 1928 Summer Olympics
1641:(online ed.). Oxford University Press.
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320:Front view of breech housing of Bofors gun
114:British war effort in the Second World War
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1608:de Cacqueray, Elizabeth (13 March 2012).
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1440:Harries, Meirion; Harries, Susie (1983).
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92:is a 1943 painting by the British artist
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1511:(1991). "The Modern Face 1918–1960". In
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1809:. Loftus Garden Village. Archived from
1789:. Loftus Garden Village. Archived from
1638:Oxford Dictionary of National Biography
1586:. Baltimore, MA and London: JHU Press.
1265:"Iconic war painting returns home". BBC
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559:, British women who worked in munitions
108:. The painting was commissioned by the
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689:"Ruby Loftus screwing a breech-ring".
346:An Escalator in an Underground Factory
120:background. When unveiled at the 1943
2066:Cultural depictions of British people
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1302:A Dictionary of Twentieth-Century Art
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1835:"Ruby Loftus screwing a breech-ring"
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1305:. Oxford: Oxford University Press.
1253:Grimes, Collins & Baddeley 1991
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931:Grimes, Collins & Baddeley 1991
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1950:Ruby Loftus Screwing a Breech-ring
1859:Ruby Loftus Screwing a Breech-ring
1807:"Loftus Garden Village: The story"
1754:"Iconic war painting returns home"
1662:McKiernan, Mike (18 August 2010).
268:Ruby Loftus Screwing a Breech-ring
89:Ruby Loftus Screwing a Breech-ring
24:Ruby Loftus Screwing a Breech-ring
14:
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1740:Hamilton, Adrian (22 July 2013).
503:National Portrait Gallery, London
140:(WAAC) under the chairmanship of
2036:Cultural history of World War II
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1819:"Royal Academy Portrait of Girl"
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1874:Royal Academy Summer Exhibition
761:Summerfield & Crockett 1992
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388:Royal Academy Summer Exhibition
215:Loftus and her family moved to
138:War Artists' Advisory Committee
122:Royal Academy Summer Exhibition
110:War Artists' Advisory Committee
1517:The British Portrait 1660–1960
254:
165:Bofors 40 mm anti-aircraft gun
1:
2026:British women in World War II
1787:"Loftus Garden Village: News"
1425:. Harpenden, Herts: Lennard.
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16:1943 painting by Laura Knight
1655:UK public library membership
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200:, turned down the fee of 75
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2061:Women in the United Kingdom
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1735:. 30 April 1943. p. 1.
1449:Morden, Barbara C. (2013).
1366:. Oxford University Press.
520:
491:Nuremberg war crimes trials
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1559:. In Tucker, David (ed.).
1555:Whiteley, Gillian (2011).
1540:. London: Reaktion Books.
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1181:Harries & Harries 1983
773:Harries & Harries 1983
728:Harries & Harries 1983
467:Winfield, British Columbia
2041:Paintings by Laura Knight
1986:
1968:
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1864:Google Arts & Culture
1716:10.1080/09612029200200015
1534:Speck, Catherine (2014).
1470:Palmer, Kathleen (2011).
1406:. Oxford: Phaidon Press.
1320:Cook, Bernard A. (2006).
485:at Ellison Switchgear in
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1942:A Balloon Site, Coventry
1774:. 1 May 1943. p. 5.
1474:. London: Tate Gallery.
1360:Edgerton, David (2011).
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249:Bofors anti-aircraft gun
208:, to paint the portrait
197:A Balloon Site, Coventry
106:Bofors anti-aircraft gun
1926:Self Portrait with Nude
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568:Women in the World Wars
2016:20th-century portraits
1837:. Imperial War Museums
1703:Women's History Review
1647:10.1093/ref:odnb/34349
1602:Journals and magazines
1402:Fox, Caroline (1988).
1341:Dunbar, Janet (1975).
1299:Chilvers, Ian (1998).
563:Women in the workforce
511:Laura Knight Portraits
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225:Royal Ordnance Factory
185:Ministry of Production
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144:, the director of the
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1770:"The Royal Academy".
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1668:Occupational Medicine
1089:"The Royal Academy".
549:United Kingdom portal
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1813:on 21 February 2014.
1756:. BBC. 22 July 2006.
1733:The Evening Despatch
1580:Wosk, Julie (2001).
1452:Laura Knight: A Life
1381:Foss, Brian (2007).
878:The Evening Despatch
691:Imperial War Museums
579:Notes and references
515:Imperial War Museums
219:after their home in
1793:on 26 November 2016
1423:Five Women Painters
1345:. London: Collins.
1207:, pp. 206–207.
972:, pp. 212–213.
775:, pp. 266–267.
656:The Daily Telegraph
495:The Nuremberg Trial
471:Imperial War Museum
79:Imperial War Museum
2046:Portraits of women
1763:The Yorkshire Post
505:, and then at the
493:where she painted
475:multiple sclerosis
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400:The Yorkshire Post
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373:Ministry of Labour
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1627:10.4000/lisa.4899
1593:978-0-8018-7313-3
1572:978-0-230-30638-7
1547:978-1-78023-384-0
1526:978-1-85149-107-0
1509:Spalding, Frances
1500:978-1-78327-225-9
1481:978-1-8543-7989-4
1472:Women War Artists
1462:978-0-85716-066-9
1432:978-1-85291-101-0
1413:978-0-7148-2447-5
1404:Dame Laura Knight
1394:978-0-300-10890-3
1373:978-0-19-983267-5
1352:978-0-0021-1489-9
1333:978-1-85109-770-8
1312:978-0-1921-1645-1
1255:, pp. 44–46.
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2010:Categories
1657:required.)
1614:Revue LISA
955:Speck 2014
830:Speck 2014
673:References
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487:Birmingham
344:1944 work
128:Background
81:Collection
66:Dimensions
1996:(husband)
1918:Paintings
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1024:Foss 2007
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626:The Times
394:The Times
379:, c. 1943
359:Reception
1958:Take Off
1841:11 April
1825:22 April
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1780:Websites
1690:20719971
1169:Fox 1988
521:See also
408:newsreel
292:duration
237:corporal
233:Finchley
74:Location
1987:Related
1515:(ed.).
1287:Sources
277:realist
247:of the
239:in the
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414:from
375:, at
301:snood
285:lathe
1843:2020
1827:2020
1799:2020
1725:News
1686:PMID
1588:ISBN
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