19 Sep rain, steam and speed interpretation
He painted the head of a heron with a dead fish in its beak – one of a series of paintings he contributed to the Fawkes Ornithological Collection, a four-volume album. Some of his more famous later paintings, he approaches the subject of modern technology. looks again at Turner’s ‘Rain, Steam and Speed’ Detail of the train from ‘Rain, Steam and Speed’ Out on the river, the other side of the bridge from the huntsman, are two figures in a boat, one of them is under an umbrella; Turner had been known to fish with his umbrella. The oil painting Rain Steam and Speed was first exhibited in 1844 at the Royal Academy and is … Rain, Steam, and Speed -- The Great Western Railway J.M.W. But on ordinary days, when Turner was observing it or travelling in it, when it was leaving or approaching Maidenhead Station, and when it was not trying to break a record, the train would have been travelling at well below 40 mph – although that must still have felt exceedingly fast to the Victorians. Turner’s Rain, Steam and Speed: The Great Western Railway (1844). In the painting, both the hare and the train are already more than halfway across the bridge, and the hare is well ahead. It breathes the spirit of the morning; its moisture, its repose, its obscurity, waiting the miracle of light to kindle it into smiles; the whole is, like the principal figure in it, ‘a forerunner of the dawn’. But in The passengers in the open-topped carriages resemble the voyeurs in Manet’s The past is very evident in the collection of vignettes that Turner assembles around his central image. In the first volume of One of Bourne’s prints is of the engine house where the Firefly locomotives were kept. To the right of the railway bridge, below a blue and indecipherable shade, close to the edge of the canvas, a man walks behind two animals. They were given names from classical mythology: Achilles and Actaeon, Castor and Cyclops, Medea and Electra –and Orion. There’s no reason to think the hare better represents speed in the painting than the train, and there’s not much reason to think the man in the lower right corner is a ploughman. ‘New flake loss from the end of the nose of the hare reported while on display,’ it says (in biro) in the painting’s conservation file at the National Gallery. Unless the hare ‘froze’ (and I’m not sure hunted hares ‘freeze’), perched on top of one of the rails, the train would simply pass it by. Turner made an etching in 1818 of a ploughman working in the shadow of Eton College Chapel; he looks nothing like the man in Detail of the boat from ‘Rain, Steam and Speed’ ‘J.M.W. He never wrote about it, and said only, in a grudging reported comment, that Turner painted it ‘to show what he could do with so ugly a subject’. Perhaps performing roughly the same function as the small mouse in Terence Cuneo’s paintings, many of them commissioned by the Great Western Railway. This painting depicts a steam-powered train speeding across a modern bridge away from London. ‘I always suffer this kind of thing from those who I have most cared for, and then I cannot forgive, just because I know I was the last person on earth they ought to have treated so – Turner did something of the same kind to me – I never forgave him – to his death.’Continuing the assumption that it was the Great Western Railway that inspired Turner, it may well have been a Firefly class locomotive working the train. Turner's loose brushwork creates the impression of speed and movement. Commenting on the writer’s reaction to the painting, John Barrell wrote ( Detail of the hunter from ‘Rain, Steam and Speed’The Firefly class, in common with all other locomotives in 1844, was a coke (not coal) burner, with an open barred grate to its fire-box. Reynolds bought the painting in 1758; it was sold after his death, and a subsequent owner put it on display in London in 1821. Read anywhere with the Orion and Lepus from the Villa Farnese Sala del Mappamondo (1574) Ruskin and Turner quarrelled in 1845-46 – over what, Ruskin never said. You can shut down the iconographical interpretation of art, with its artistic and literary allusions, and concentrate instead on Turner’s painterliness, but with Perhaps Turner thought the fire-box was at the front of the locomotive. Turner wrote to Ruskin in November 1848 from the Athenaeum: New as the geometric order may be, chasing after hares is as old as any ancient rite, but who or what is hunting the hare in Turner’s painting? Maidenhead Bridge was double-tracked from the outset and there would have been ample room for the hare to crouch in complete safety. (Dickens in Hares were said to dance, widely believed to change sex, and like witches appeared out of nowhere only to vanish just as fast. ‘But still the heart doth need a language, still/Doth the old instinct bring back the old names,’ Schiller wrote. C.R. Turner elicited strong responses from friends and foes alike. He moves away from marine subject matter, and focuses now on the railway in Rain, Steam, and Speed-the Great Western Railway (1844). The nearly abstract Rain, Steam, and Speed—The Great Western Railway (1844; National Gallery, London) evokes the Industrial Revolution’s rapid transformations through strong diagonals, bold contrasts of light and dark, and tumultuous handling.
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