Povzetek

Joseph Mallord William Turner: Rain, Steam and Speed – The Great Western Railway
Umetnik/izdelovalec	Joseph Mallord William Turner  (1775–1851)      Nadomestna imena J. M. W. Turner Opis britanski slikar in grafik Datum rojstva/smrti ok. 23. aprila 1775  19. decembra 1851  Kraj rojstva/smrti London Chelsea Kraj ustvarjanja London, Britain, Italija, Nemčija, Švica Normativna kontrola : Q159758 VIAF: 100900492 ISNI: 0000000121454990 ULAN: 500026846 Open Library: OL5252296A DBNL: turn007 WorldCat artist QS:P170,Q159758
Naslov	Rain, Steam and Speed - The Great Western Railway; the painting depicts an early locomotive of the Great Western Railway crossing the River Thames on Brunel's recently completed Maidenhead Railway Bridge.The painting is also credited for allowing a glimpse of the Romantic strife within Turner and his contemporaries over the issue of the technological advancement during the Industrial Revolution (see below).
Vrsta objekta	slika
Datum	1844 date QS:P571,+1844-00-00T00:00:00Z/9
Medij	olje na platnu medium QS:P186,Q296955;P186,Q12321255,P518,Q861259
Velikost	višina: 91 cm; širina: 121,8 cm dimensions QS:P2048,91U174728 dimensions QS:P2049,121.8U174728
Zbirka	Narodna galerija    Domače ime National Gallery Matična ustanova Board of Trustees of the National Gallery  Kraj London Koordinate 51° 30′ 32″ S, 0° 07′ 42″ Z   Ustanovitev 1824  Spletno mesto nationalgallery.org.uk Normativna kontrola : Q180788 VIAF: 144868906 ISNI: 0000000123422001 ULAN: 500125190 Open Library: OL121572A LCCN: n80081622 WorldCat institution QS:P195,Q180788
Lokacija	soba 34
Inventarna številka	NG538
Darovalec	Turner Bequest, 1856
Sklici	http://www.nationalgallery.org.uk/paintings/joseph-mallord-william-turner-rain-steam-and-speed-the-great-western-railway  https://www.wga.hu/html/t/turner/2/205turne.html Art UK artwork ID: rain-steam-and-speed-the-great-western-railway-115073
Vir posnetka/fotograf	http://www.artrenewal.org/pages/artwork.php?artworkid=14508&size=huge
Druge različice	slika  slika z okvirjem

Social Commentary

Turner was a well traveled man, frequently trekking to natural wonders of mainland Europe and the British Isles to sketch them in one of his dozens of notepads. He knew of the pains one must take to travel off the beaten path and wrote of one such occasion, traveling from Rome to Paris, to a friend in 1829:

“…we never could keep warm or make our day’s distance good, the places we put up at proved all bad till Firenzola being even the worst for the down diligence people had devoured everything eatable (Beds none)…crossed Mont Cenis on a sledge – bivouaced in the snow with fire lighted for 3 Hours on Mont Tarate while the diligence was righted and dug out, for a Bank of Snow saved it from upsetting – and in the walk up to our knees in new fallen drift to get assistance to dig a channel thro’ it for the coach, so that from Foligno to within 20 miles of Paris I never saw the road but snow!”1

Fifteen years later, Turner’s 1844 masterpiece, Rain, Steam and Speed: The Great Western Railway, in a way recognizes his thrill in the speed of the new coal train and his appreciation for such technology when traveling. Yet, he subtly recognizes the progressive threat that humans pose towards the cradle of the earth.

The title follows the Turner pattern of 'nature first' in his titles, but at once you see what looks like a monstrous kiln underneath the rail bridge, and flames engulfing the ecstatic figures on the far side of the river. On top of the bridge you see the face of a demon with the body of a coal burning centipede, which itself looks like a line of glowing embers. Ahead of the train it is hard to spot the tiny hare at full sprint, trying to stay ahead of the state-of-the-art technology of the mid-1800’s. What is so interesting about this piece, Olivier Meslay points out in his book JMW Turner: The Man Who Set Painting on Fire, is that “the notion of the sublime was no longer confined to natural phenomena, but incarnated in machines created by humanity with god-like aspirations, whose new power it served to magnify” and begs to question; what should we fear more, the awe of the wild, or the annihilation of it?2

1. Meslay, Olivier. JMW Turner: The Man Who Set Painting On Fire. London: Thames & Hudson Ltd, 2005. Pg 133

2. Ibid. Pg 107

Licenca

To je zvesta fotografska reprodukcija izvornega dvorazsežnega umetniškega dela. Samo umetniško delo je v javni domeni iz naslednjega razloga: Public domainPublic domainfalsefalse To delo je v javni domeni tudi v državah in na območjih, kjer trajajo avtorske pravice za časa avtorjevega življenja in še 100 let ali manj po tem. Na stran morate dodati tudi oznako za javno domeno v Združenih državah Amerike, s katero razložite, zakaj je delo v javni domeni v Združenih državah Amerike. Datoteka je bila prepoznana kot prosta omejitev po avtorskem pravu, vključno z vsemi povezanimi in sorodnimi pravicami. https://creativecommons.org/publicdomain/mark/1.0/PDMCreative Commons Public Domain Mark 1.0falsefalse Uradno stališče Fundacije Wikimedija je, da so »zveste reprodukcije dvorazsežnih del v javni domeni in da so nasprotne trditve napad na samo pojmovanje javne domene«. Podrobnosti so na razpolago na strani Commons:When to use the PD-Art tag. V javni domeni je torej tudi ta fotografska reprodukcija. Zaradi krajevnih zakonov je v nekaterih jurisdikcijah uporaba prikazane vsebine lahko tudi prepovedana ali omejena. Glej Commons:Reuse of PD-Art photographs.

To je zvesta fotografska reprodukcija izvornega dvorazsežnega umetniškega dela. Samo umetniško delo je v javni domeni iz naslednjega razloga: Public domainPublic domainfalsefalse Delo je v Združenih državah Amerike v javni domeni, saj je bilo objavljeno (ali registrirano pri Uradu za avtorske pravice ZDA) pred 1. januarjem 1929. Dela v javni domeni so v Zbirki lahko objavljena, če so prosta avtorskih pravic v Združenih državah Amerike in v državi izbora. Če delo ne izvira iz ZDA, mora imeti dodatno oznako avtorskih pravic, ki razloži avtorskopravno stanje dela v državi izvora. Uradno stališče Fundacije Wikimedija je, da so »zveste reprodukcije dvorazsežnih del v javni domeni in da so nasprotne trditve napad na samo pojmovanje javne domene«. Podrobnosti so na razpolago na strani Commons:When to use the PD-Art tag. V javni domeni je torej tudi ta fotografska reprodukcija. Zaradi krajevnih zakonov je v nekaterih jurisdikcijah uporaba prikazane vsebine lahko tudi prepovedana ali omejena. Glej Commons:Reuse of PD-Art photographs.