‘A name that makes it looked after’: Turner, Ruskin and the visual-verbal sublime

This article attempts to reconstitute some of the conditions of meaning in whichJ. M. W. Turner’s Snow StormSteamboat off a Harbour’s Mouth (exh. J 842) was produced and understood. It does so by examining the impact of that painting on the various kinds of commentary that it gave rise to in newspapers, magazines, books, letters, and diaries. It is one of my first published analyses of word-image relations, on this occasion between Turner and Ruskin.

Published in Word & Image, 5:4 (1989), 315-325, DOI: 10.1080/02666286.1989.10435412

View the original article Download

Leave a reply Click here to cancel the reply

Trajective Art Criticism: Boats (Trains, Planes) and Home in the Era of Retreat from Democracy

Perception, History, and Geology: The Heritage of William Molyneux’s Question in Colonial Landscape Painting

‘Après Picasso, Le Deluge’ or Why the Love Boat Won’t Hold Water: James Cameron’s Titanic and John Richardson’s A Life of Picasso

‘A name that makes it looked after’: Turner, Ruskin and the visual-verbal sublime

Leave a reply Click here to cancel the reply

Trajective Art Criticism: Boats (Trains, Planes) and Home in the Era of Retreat from Democracy

Perception, History, and Geology: The Heritage of William Molyneux’s Question in Colonial Landscape Painting

‘Après Picasso, Le Deluge’ or Why the Love Boat Won’t Hold Water: James Cameron’s Titanic and John Richardson’s A Life of Picasso

Log in with your credentials

Forgot your details?