Ernest Higgins Rigg (1868-1947) was a British artist whose career, while perhaps not as globally renowned as some of his contemporaries, offers a fascinating glimpse into the regional art scenes of late 19th and early 20th century Britain, particularly his integral role within the Staithes Group of artists. His life was a tapestry woven with threads of dedicated artistic pursuit, a deep connection to the landscapes and people of Yorkshire, and an unexpectedly tumultuous, albeit brief, venture into national politics. This exploration delves into his origins, his artistic development, his contributions to the Staithes Group, his distinctive style, and the curious chapter of his parliamentary service.
Early Life and Artistic Foundations
Born in the bustling port city of Bristol in 1868, Ernest Higgins Rigg's artistic inclinations emerged early. His foundational training was received at the Bristol School of Art, an institution that would have provided him with a solid grounding in academic drawing and painting techniques prevalent in the Victorian era. However, like many aspiring artists of his generation seeking to broaden their horizons and immerse themselves in the latest artistic currents, Rigg looked towards Paris, then the undisputed capital of the art world.
He enrolled at the prestigious Académie Julian, a private art school that became a beacon for international students, including many from Britain and America. The Académie Julian was particularly popular because it offered a more liberal alternative to the rigid curriculum of the official École des Beaux-Arts, and notably, it accepted female students. Here, Rigg would have been exposed to a vibrant, cosmopolitan atmosphere and, crucially, to the lingering and evolving influences of French Impressionism and Post-Impressionism. Instructors at the Académie Julian during various periods included renowned figures like William-Adolphe Bouguereau and Tony Robert-Fleury, though the student experience was often more about peer interaction and absorbing the avant-garde spirit of Paris. It was in this environment that Rigg likely honed his skills in plein air (outdoor) painting, learning to capture the fleeting effects of natural light and colour, a hallmark of Impressionist practice. This Parisian sojourn was pivotal, shaping his palette and his approach to landscape and figurative work.
The Lure of Staithes: A Founding Member
The late 19th century saw the rise of numerous artists' colonies across Europe, as painters sought picturesque, "unspoiled" locations where they could live and work affordably, often in close communion with nature and local communities. In Britain, places like Newlyn in Cornwall, and Staithes in North Yorkshire, became such magnets. Rigg first visited the fishing village of Staithes in 1896. Nestled in a dramatic coastal setting with its tightly packed cottages, towering cliffs, and bustling harbour, Staithes offered a wealth of subjects for artists drawn to realism and the depiction of everyday life.
Rigg was captivated. He found himself among a growing number of artists, including figures like Harold Knight and Laura Knight (then Laura Johnson), Frederick William Jackson, and Rowland Henry Hill, who were drawn to the village's rugged charm and the hardy character of its fishing community. He initially lived in nearby Hinderwell for a period before fully immersing himself in the Staithes artistic milieu.
By 1901, this informal gathering of artists coalesced into a more defined entity known as the Staithes Group (or Staithes Art Club). Ernest Higgins Rigg was a key founding member of this group. Other notable figures associated with the Staithes Group, either as founders or significant participants, included Robert Jobling, Isabella Jobling (née Rowe), Charles Hodge Mackie (though more a visitor), Arthur Friedenson, James William Booth, Owen Bowen, and Frederick Stuart Richardson. The group, active primarily from the late 1890s until around 1907-1910, shared a commitment to capturing the local scenery and the lives of the fisherfolk, often working in an Impressionistic or naturalistic style. They held regular exhibitions, fostering a supportive and collaborative environment.
Artistic Style and Thematic Focus
Ernest Higgins Rigg's artistic style was deeply informed by his Parisian training and his immersion in the plein air ethos of the Staithes Group. His medium was predominantly oil paint, which he handled with confident, often vigorous, brushwork. His palette, influenced by Impressionism, was attuned to the nuances of natural light, though often retaining a solidity of form characteristic of British naturalism.
His subject matter was largely drawn from the landscapes of North Yorkshire, particularly Swaledale, and the coastal scenes and village life of Staithes and its environs. He depicted the rolling dales, the agricultural rhythms of the countryside, and the intimate domestic scenes of rural life. His paintings often convey a sense of quiet dignity and an appreciation for the enduring connection between people and their environment.
Several works by Rigg have appeared at auction and are noted in art historical records, giving us insight into his oeuvre. "The Quiet Hour" (1895) suggests a contemplative interior or a peaceful landscape, painted even before his full establishment in Staithes but indicative of his developing style. "Picking Blackberries," a work measuring 90cm x 70cm, exemplifies his interest in rural activities and genre scenes, likely rendered with attention to naturalistic detail and the play of light on figures and foliage. Another titled work, "Food For Thought," auctioned in 2012, hints at a narrative or allegorical element, though without viewing the image, its specific content remains speculative. His "Autumn Landscape in the Yorkshire Dales" (1977 auction, but an earlier work) clearly points to his dedication to capturing the specific atmospheric conditions and seasonal beauty of the Yorkshire countryside.
Rigg's work, like that of many Staithes artists, aimed to be an honest portrayal of the world around him. While influenced by French Impressionists such as Claude Monet, Camille Pissarro, and Alfred Sisley in terms of light and colour, the Staithes artists, Rigg included, often maintained a stronger narrative and social realist component, akin to the work of earlier French realists like Jean-François Millet or contemporary British schools like the Newlyn School, which included artists such as Stanhope Forbes, Frank Bramley, and Walter Langley.
Exhibitions and Recognition
Throughout his career, Ernest Higgins Rigg achieved a notable level of recognition within the British art world, exhibiting his work at several prestigious venues. His paintings were shown at the Royal Academy of Arts in London, the ultimate mark of establishment approval for many British artists. He also exhibited at the Manchester City Art Gallery, a significant provincial institution, and with the Royal Society of British Artists (RBA) in Suffolk Street, London, which historically offered an alternative exhibition space to the Royal Academy.
Furthermore, his participation in the Yorkshire Union of Artists underscores his strong regional connections and his standing among his peers in the North of England. The fact that his works were regularly accepted at these venues indicates a consistent quality and appeal. Many of his paintings are reported to be signed and dated, and often survive in good condition, which aids in their attribution and study today. His association with the Staithes Group, which has gained increasing art historical attention in recent decades, further cements his place in the narrative of British regional art.
An Unexpected Turn: The Political Arena
Beyond his dedicated artistic practice, Ernest Higgins Rigg's life took a surprising and rather dramatic detour into the world of politics. In the general election of 1900, standing as a Liberal Party candidate, he was unexpectedly elected as the Member of Parliament (MP) for the North Westmorland constituency. This was a significant achievement, as it was traditionally a Conservative stronghold. His initial political platform was aligned with staunch Liberal principles, including opposition to tobacco and alcohol.
However, his parliamentary career was to be short-lived and fraught with controversy. In 1904, Rigg stunned his constituents and the Liberal Party by announcing his sudden resignation from Parliament. He cited profound disagreements with the Liberal leadership, particularly concerning issues of imperial support and social policy. His stance had shifted markedly: he came to support the policy of using Chinese indentured labour in South Africa, a highly contentious issue at the time, and also declared his support for the Aliens Act and the Education Act, measures that were divisive and not universally popular within Liberal circles.
This ideological volte-face did not go unnoticed or unchallenged. In 1905, Rigg formally joined the Conservative Party, the very party he had defeated five years earlier. He stood as a Conservative candidate in the 1906 general election but was defeated by the Liberal candidate, Leifchild (Leif) Jones, a prominent temperance advocate. Despite this setback, Rigg was re-elected as a Conservative MP in a subsequent election in 1907, though his overall impact in Parliament remained limited.
The public reaction to Rigg's political transformation, particularly among his former Liberal supporters in North Westmorland, was intense and often hostile. He faced verbal abuse and even physical threats. Reports from the time mention an incident where a bomb was allegedly thrown at his house, and he was subjected to public insults. The Liberal press was particularly scathing, publishing critical articles and caricatures that lampooned his change of allegiance. The immense pressure and public opprobrium took a toll on Rigg's health, and he was forced to leave Britain for a period to recuperate in the Mediterranean. His political opponents seized upon this, deriding his absence.
While his political career was turbulent and relatively brief, Rigg's initial victory in 1900 is noted by historians as an unexpected Liberal breakthrough in a traditionally Conservative area. His subsequent defection and the surrounding drama provide a colourful case study in the fluid and often passionate political landscape of Edwardian Britain.
Later Life and Artistic Legacy
After his foray into politics, Ernest Higgins Rigg appears to have returned his focus more fully to his art. He continued to paint, presumably drawing inspiration from the landscapes and communities that had always been central to his work. He passed away in 1947, leaving behind a body of work that contributes to our understanding of British regional Impressionism and the artistic life of the Staithes Group.
While perhaps overshadowed by some of the more nationally celebrated figures of the Staithes Group, like Dame Laura Knight or Harold Knight, Ernest Higgins Rigg's role as a founding member and a consistent practitioner of the group's ethos was significant. His paintings offer a sincere and skilled interpretation of the North Yorkshire environment, capturing its unique character and the lives of its inhabitants.
His work is represented in public and private collections, and continues to appear at auction, where it is appreciated by collectors of British Impressionism and art of the Staithes period. The renewed interest in British regional art movements of the late 19th and early 20th centuries has helped to ensure that artists like Rigg receive ongoing scholarly and public attention. His life, marked by a dedication to his craft and an unexpected, dramatic chapter in public service, reflects the diverse paths taken by artists of his generation. He remains a noteworthy figure in the story of the Staithes artists, a community that created a vibrant and lasting artistic legacy from the rugged coast of North Yorkshire. His dual career, though perhaps leading to a less single-minded artistic output than some, provides a richer, more complex portrait of a man navigating the artistic and social currents of his time.
