User:Lopezgie/sandbox

Rain, Steam and Speed – The Great Western Railway is an oil painting by the 19th-century British painter J. M. W. Turner.

The painting was first exhibited at the Royal Academy in 1844, though it may have been painted earlier. It is now in the collection of the National Gallery, London. In this artwork, Turner managed to give us an impression of great speed in a static painting, an attribute that made him stand out from other artists. Furthermore, he makes use of many simplistic details that incite a heightening of emotional tension associated with the natural phenomena of the sublime.

Background
The painting was drawn close to the end of the Industrial Revolution, which brought a massive shift from an agrarian economy to one dominated my machine manufacturing in the Victorian Era. The railway was among the most potent symbols of industrialization, since this new way of transportation affected heavily the industrial and social life. Turner seemed to be a generation away from other artists, as he was the only one who considered industrial advancement as a commendable subject of art. He reflected that modern technology is a reality racing towards us.

The Great Western Railway (GWR) was one of a number of private British railway companies created to develop the new means of transport. The location of the painting is widely accepted as Maidenhead Railway Bridge, across the River Thames between Taplow and Maidenhead; a place that Turner had been exploring for over thirty years. The view is looking east towards London. The bridge was designed by Isambard Kingdom Brunel and completed in 1838.

Description
Turner’s painting illustrates a train rushing toward the viewer that emerges suddenly from a blue-skied, and paradisal countryside during a summer rainstorm. The train in the center is dark and rain-shrouded, surrounded by a golden natural landscape on both sides. However, the train and bridge, the solid elements of the painting, are barely hinted at, since they disappear into the hazy and unreal atmosphere. The mist that the water exhales, the rain that veils the sky, and the steam from the locomotive are blurred and mixed, creating a special unity of color. In the lower-left corner of the painting, we can see a little person on a boat, making emphasis that the bridge is constructed on top of a river. In the bottom right of the painting, a hare runs along the track possibly symbolizing speed itself. An indicator that the train is in motion are the three white puffs of steam that the engine releases into the air. The first, and nearest to the engine is the most distinct, while the other two gradually disappear in the horizon. This detail expresses the idea of speed, as the puffs are progressively left behind. In the interior of the train, Turner depicted a crowd of waving figures that served as a reminder that the railway was a festive and popular entertainment.

Artistic Technique
Turner frequently created an atmospheric tonality in his artistic creations by spreading the paint in short, broad brushstrokes from a filthy palette onto the canvas and gradually drawing objective codes out of his color ground. In the center of the painting and the upper right, Turner used thick impasto with a palette knife. To illustrate the rain, he dabbed dirty putty on to the canvas with a trowel, whereas the sunshine scintillates out of thick, smeary chunks of chrome yellow. Additionally, Turner used cool tones of crimson lake to illustrate the shadows and, even though the fire in the steam-engine appears to be red, it is most likely painted with cobalt and pea-green. Structurally, the picture has a balanced arrangement of forms with its firm geometrical elements.

Sublime
This celebrated picture is a depiction of Turner’s commitment to classical landscape, as well as his astonishing passion for experiment and response to the modern world. The painting is interpreted as a celebration of travel and new technological power, with the railways representing a fresh departure of the old tradition of landscape to a merging of natural forces and technically guided energies. It incites a heightening of emotional tension associated with the sublime as novel sensations captured people’s eyes. The thrilling essence of speed was an innovative factor of life, with the power to alter our emotions of nature, while the steam of the locomotive provided a groundbreaking atmospheric scenery. Turner was not painting a perspective of the Great Western Railway, but rather an allegory of the powers of nature, projected as a landscape of striking naturalism and immediacy. It is as if if the viewer can feel the wetness of this day, hear the sound of the engine, and feel the speed of the train approaching.

Hare
A hare runs along the track in the bottom right of the painting, possibly symbolizing speed itself. Some think this is a reference to the limits of technology. Others believe the animal is running in fear of the new machinery and Turner meant to hint at the danger of man's new technology destroying the inherent sublime elements of nature. Turner considered both hound and hare as the most characteristic emblems of speed, in which the hare does everything in its power to stay safe from the predator who chases it at double the speed. In fact, he had used these symbols in previous works. In the 1810s, in Battle Abbey; the Spot Where Harold Fell, and later in 1837, in the Apollo and Daphne, he portrayed this detail of a hare being chased. No hare was likely to be outpaced by any locomotive of this period and in Rain, Steam, and Speed, we experience an exhilarating feeling as the poor hare will surely be crushed in an instant. For this reason, it is said that he intentionally chose to use the type of engine that is called Greyhound.

Analogues
Some people interpret this painting as an analogous to that of the The Fighting Téméraire, since there seems to be a transition from the past towards the future as the train speeds towards us. Additionally, there is a distinction from the ugly railway-bridge and train, and the beautiful and peaceful landscape. Other interpretations say that at the left of the painting, Turner features a second stone bridge that serves as an analogous to the bridge in Apullia and Appullus of 1814, emphasizing that both principal structural elements have been pushed to the edges of the canvas.