Art in the Age of Steam: Europe, America and the Railway, 1830-1960

Janet Whitmore exhibition review of Art in the Age of Steam: Europe, America and the Railway, 1830-1960 Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Citation: Janet Whitmore, exhibition review of “Art in the Age of Steam: Europe, America and the Railway, 1830-1960,” Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009), http:// www.19thc-artworldwide.org/spring09/75-art-in-the-age-of-steam-europe-america-and-the- railway-1830-1960. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2009 Nineteenth-Century Art Worldwide Whitmore: Art in the Age of Steam: Europe, America and the Railway, 1830-1960 Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Art in the Age of Steam, Europe, American and the Railway, 1830-1960 The Nelson-Atkins Museum of Art, Kansas City, Missouri 13 September 2008–18 January 2009 Walker Art Gallery, National Museums Liverpool 18 April–10 August 2008 Catalogue: The Railway, Art in the Age of Steam Ian Kennedy and Julian Treuherz, with contributions by Matthew Beaumont and Michael Freeman New Haven and London: Yale University Press, 2008 288 pages; illus: 210 color and 48 b/w; checklist of exhibition; timeline; bibliography; indexed. Cost: $65.00 ISBN: 978-0-300-13878-8 “Oops!” That would be an appropriate caption for the image of the art historian, with hand slapped to forehead, strolling into Art in the Age of Steam, Europe, American and the Railway, 1830-1960 at The Nelson-Atkins Museum of Art in Kansas City, Missouri. The fact that this exhibition is the first major international exploration of visual artists’ response to the railway seems almost unbelievable. Surely, someone somewhere has already presented this subject. The startling reality is that curators Ian Kennedy (European Painting and Sculpture at The Nelson Atkins Museum of Art) and Julian Treuherz (former Keeper of Art Galleries, National Museums Liverpool) have created the first exhibition and catalogue that present this singularly important aspect of nineteenth and twentieth-century life clearly, coherently, and with art-historical thoroughness. The crucial role of the railway in the industrial revolution can hardly be overestimated, and there is no shortage of scholarly discussion about the effect of passenger rail travel on Impressionist imagery, for example. With the exception of J. M. W. Turner’s legendary Rain, Steam and Speed, however, there are far fewer analyses of the visual artist’s aesthetic response to the railway. The goal of Art in the Age of Steam was specifically “to show the response of the best artists to the railway, first as a new and revolutionary form of transport, then to the multifarious ways in which the railways transformed everyday life, both physically and psychologically.” (12) This exploration takes the viewer from the earliest decades of purely documentary imagery to the post-World War II era when airplanes began to replace trains as the primary means of long-distance travel. Throughout the exhibition the curators present the theme of the railway in all its complex—and often complicated—forms; as an object of wonder and despair; as a tool of empire building, racism, and glorious industrial innovation; and as a symbolic image that is simultaneously dangerous, boring, and nostalgic. The breadth of this theme is central to the exhibition. It alerts us to both the dominance of the railway in nineteenth and twentieth century images, and to the fact that it 155 Whitmore: Art in the Age of Steam: Europe, America and the Railway, 1830-1960 Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) has been overlooked as a theme—perhaps because it has become so commonplace that we no longer perceive it as an independent entity. It must be noted too that Art in the Age of Steam was the first major exhibition in the new Bloch Building, the165,000 square foot addition to the Nelson-Atkins Museum of Art (figs. 1, 2, & 3). Designed by Steven Holl Architects as five interconnected structures that step down the steep hill to the east of the original museum, the Bloch Building houses temporary exhibition galleries as well as educational rooms and galleries for the permanent collection. These spaces are distinctively lit from a series of clerestories at the top of the above ground sections of the structure; between the doubled glass planking that comprises the wall are ultra-violet light filters and light-diffusing insulation panels. Brilliant natural light floods the space without the damaging effects of unfiltered sunlight. Radiating a luminous glow in any weather condition, the Bloch Building transforms the campus of the Nelson-Atkins museum into a dramatically elegant contemporary space. Fig. 1, Entrance to Bloch Building with original Nelson-Atkins Museum of Art on right. Steven Holl Architects. Kansas City, Missouri. [larger image] Fig. 2, East elevation of Bloch Building. [larger image] 156 Whitmore: Art in the Age of Steam: Europe, America and the Railway, 1830-1960 Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Fig. 3, West elevation of Bloch Building as viewed from front terrace of the Nelson-Atkins Museum of Art. [larger image] The entrance to Art in the Age of Steam takes full advantage of its location halfway down the hillside site (fig. 4). Because sloping corridors link the above ground pavilions, there is a natural sense of moving downhill as you walk towards the special exhibitions galleries that terminate the progression of spaces. Here, the visitor is greeted with an immense orange mural of a locomotive hurtling down a track, echoing the slope of floor, and conveying an immediate awareness of the sheer size of a train engine. It’s an apt way to begin the show. Fig. 4, Entrance to the exhibition, Art in the Age of Steam. [larger image] Turning into the first gallery produces another dramatic shift, this time from the brilliant orange of the entrance to a small grey-walled space filled with early documentary engravings and drawings of railway history.[1] These are both informative and charming. S. F. Hughes’ 1833 hand-colored aquatint, Traveling on the Liverpool and Manchester Railway, offers a journalistic image British railway engineering as well as the a clear statement about the class divisions of nineteenth-century society (fig. 5). The first class train cars are designed to look like horse-drawn carriages with private, enclosed passenger compartments. The second and third class cars are neither enclosed nor private; third class passengers do not enjoy even the modest safety precaution of fully enclosed sides on the train cars. The aquatint also illustrates clearly that British (and most European) railway tracks followed a straight path, having blasted out hillsides and constructed tunnels if necessary. 157 Whitmore: Art in the Age of Steam: Europe, America and the Railway, 1830-1960 Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Fig. 5, S.G. Hughes, after Isaac Shaw, Travelling on the Liverpool and Manchester Railway, 1833. Hand- colored aquatint. The Ironbridge Gorge Museum Trust, Telford, England. [larger image] This gallery also introduces a basic history of railway development in the form of wall texts. Comparisons between European and American railways are especially informative because the differences will dictate much about future directions and developments. As the exhibition unfolds, these same issues will appear in many of the paintings, posing fresh questions about the relationship between artists and railways. Here is a summary of the contrasts. European railways tended to be designed along the most direct path between two points, thus facilitating shorter trips, but more difficult and costly civil engineering. In the United States, the track followed the path of least topographical resistance, curving around natural obstacles to avoid expensive engineering fees. In order to accommodate these curves, railway designers developed what is known as a “bogie”, an undercarriage mechanism that balances the wheels on either side of the meandering track. The indirect lines, the poor quality of track, and the resulting slow speed of travel meant that passengers spent more time on the train—and more time distributing their dollars in the hotels and restaurants of the cities along the way. The scale of the American continent was a formidable challenge, and at least a partial explanation of the differences between European and United States railways. Europeans chose to preserve and protect their natural landscapes by laying rail lines over as little territory as possible. Great feats of engineering design, such as the impressive railway bridges of both Britain and France, testify to a concern for shaping a transportation system that worked within the context of existing communities. In the US, boundless open spaces offered a radically different environment, one in which nature was untamed and wild, often more fearsome than familiar. An equally sharp contrast appears in the allocation of funds for railway development. American entrepreneurs hired thousands of laborers, mostly immigrants, to build the railway under dangerous and dismal conditions: low salaries, the daily risk of severe injury; and insalubrious housing conditions. In contrast, European railway owners tended to spend less on manual labor and more on engineers and contractors who could manage sophisticated industrial construction projects. Ultimately, the railway produced diverse results, attempting to support an established way of life in Europe, while in America it played a defining role in expanding the nation. European trains enabled the growth of suburbs; American railways created many of the great cities west of the Appalachian mountains. Not surprisingly, artists responded to these circumstances with a variety of perspectives. 158 Whitmore: Art in the Age of Steam: Europe, America and the Railway, 1830-1960 Nineteenth-Century Art Worldwide 8, no.

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