Manifesting the Modern - W. L. Wyllie’s Images of the River Thames in the 1880s -
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This article examines the English artist W. L. Wyllie’s images of the River Thames during the 1880s. Setting them against the recent paintings of the river, which either dwelt on the rural and the past or were preoccupied with style over subject, and considering in relation to the critical reception, it analyses ways in which Wyllie’s work addressed modernity so as to elucidate its historical and art historical implications. Wyllie’s exhibited pictures presented the Thames as a great and dynamic port of the age. In doing so they filled a gap left in contemporary British art by neglect of the modern, as well as innovating the artistic representation of the Thames. His work highlighted workaday characteristics of the London river, with which its metropolitan audience was likely to associate; and encouraged it to reconsider contemporary urban life by particular compositions, which uniquely allowed the viewer to engage with pictures effectively. The present essay distinguishes Wyllie’s acknowledgement of a social role of art from the aestheticist conception of art as separate from society, while demonstrating a highly successful appeal of his art to modernity in late 19th-century Britain.
Abstract
This article examines the English artist W. L. Wyllie’s images of the River Thames during the 1880s. Setting them against the recent paintings of the river, which either dwelt on the rural and the past or were preoccupied with style over subject, and considering in relation to the critical reception, it analyses ways in which Wyllie’s work addressed modernity so as to elucidate its historical and art historical implications. Wyllie’s exhibited pictures presented the Thames as a great and dynamic port of the age. In doing so they filled a gap left in contemporary British art by neglect of the modern, as well as innovating the artistic representation of the Thames. His work highlighted workaday characteristics of the London river, with which its metropolitan audience was likely to associate; and encouraged it to reconsider contemporary urban life by particular compositions, which uniquely allowed the viewer to engage with pictures effectively. The present essay distinguishes Wyllie’s acknowledgement of a social role of art from the aestheticist conception of art as separate from society, while demonstrating a highly successful appeal of his art to modernity in late 19th-century Britain.
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