Imaginarium: Sightings, Galleries, Sightlines
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Imaginarium - A. Robert Lee
—Goethe
J.M.W. Turner, The Slave Ship
I believe, if I were reduced to rest Turner’s immortality upon any single work, I would choose this.
— John Ruskin
Try the full title.
Slavers throwing overboard the Dead and Dying — Typhon coming on.
The anger presses into brush stroke, the billow of image.
Before you the painter’s confirming motion of sky, ocean, light.
You see your way into the picture only dimly.
A storm of color, blurring wave and surge.
Almost abstract, but the senses sharpen.
Each viewing sifts detail from mass, specificity.
The three-master rises, spectrally, upon a background crest.
Spray roars, foam rises, curls of ocean clash.
Fish monsters, open-eyed and slack of jaw, approach in opportunity.
Sea-fowl fly low, avian ocean raveners.
The bodies float, tied leg, raised arm, reaching fingers.
Dangled manacles keep company into death.
Centre runs a white-yellow ray of light, sky to water.
It almost mocks the desperation, the lost cries.
If illumination it descends upon vital brutality.
Enslavement figured, men, women, reduced to bait.
The picture’s motion becomes a shared drowning.
How not to see with Turner the world overboard?
Claude Monet, Water-Lilies
I can’t pretend flowers, floral painting, was an early passion.
There were the Van Gogh sunflower posters, to be sure.
Pre-Raphaelites made early sightings, Rossetti and Millais.
But it took Giverny to work magic, pond-garden into canvas.
Time and travel gave access to the serial Monet of les