Through Form to the Sublimity of Turner's 'Vesuvius in Eruption'
Critical Approaches to Art History// Yale University
Tiptoeing the line of artistic spectacle, Joseph Mallord William Turner’s Vesuvius in Eruption captures the sublime terror and the relentless force of nature in its portrayal of volcanic fury. This drama transforms the natural calamity into a breathtaking scene that challenges the very boundaries of artistic expression, rendering Vesuvius with such passion that it seems to erupt from the frame itself. The work transcends mere depiction of a natural disaster, embodying the intrinsic value of aesthetic components that stand independent of external narrative and becoming a profound study in the aesthetics of the sublime, deeply entrenched in formalist art criticism. Through Turner’s lens, visual representations become are orchestras of light and shadow, where each brushstroke contributes a note to a visual symphony that is a vehicle to achieving the sublime. Delving into the heart of artistic expression, the question arises: can such a formal method truly capture the essence of the sublime?
![A volcano eruption in the sky
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A formalist method of art criticism dissects a work into its individual visual aspects – such as its use of color, line, and composition – instead of its content or historical context. Vesuvius in Eruption exemplifies this approach, fascinating the viewer with its realism and the immediate visual impact of the volcano’s dominant red triangle. This central figure seizes the gaze, embodying the raw power of nature through the artist’s lens, which distills the eruption’s energy into a singular linear form. The triangle, a shape associated with stability and strength, paradoxically conveys the instability and chaos of an erupting volcano. Its red hue intensifies the scene, evoking danger, passion, and intensity. The red triangle is not merely a depiction of Vesuvius but also serves as a compositional anchor, guiding the eye skyward in tandem with the eruptive force of lava and ash. This ascent is juxtaposed against the somber clouds and tranquil sea, crafting a dynamic contrast that echoes Wolfflin’s dichotomy of linear versus painterly qualities. The simplicity of the triangle’s outline, while linear in its definition and contours, is pivotal to the work’s aesthetic, affirming the adage that “beauty is first sought in the outline.” This focal point orchestrates the surrounding elements—spectators on the shore, the turbulent sea—into a reactive display to the natural disaster. Thus, the apex of the triangle, pointing heavenward, not only directs the viewer’s gaze into the tumultuous clouds but also gestures to the boundless expanse of the natural world, dwarfing the human presence. Turner’s painting, through a masterful manipulation of formal elements, communicates the overwhelming majesty and formidable power of the volcanic spectacle.
Although the formalist method does not include analysis of the narrative or context of the through work, Focillion underscores the “genealogical significance” in grasping the cyclical evolution of form. This genealogy shows the metamorphosis of elements under the artist’s hand, becoming fluid and adaptable as “touch is structure,” crafting “a harmony of free parts.” The importance of artistic choice becomes even more apparent when looking at contemporary depictions of the scene.
![The 17th - 18th century and the Grand Tour-1 The 17th - 18th century and the Grand Tour-1](https://substackcdn.com/image/fetch/w_1456,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F91dbf747-9cd1-4fe2-ab76-c8ecaad3fecb_448x255.jpeg)
Volaire’s painting centralizes the volcano, using color and lighting to create a dramatic contrast, yet it offers only an “appearance of reality.” Here, the linear qualities bound the picturesque, with the volcano portrayed as one among many peaks, leading the eye to various focal points—majestic ships and a pier of people in the foreground, a serene moon and shift in mood in the background. The formal attributes engage the viewer but maintain a detachment from the depicted reality, prompting observation by the viewer rather than inherent reaction.
![An Eruption of Vesuvius, Johan Christian Dahl (Norwegian, Bergen 1788–1857 Dresden), Oil on canvas An Eruption of Vesuvius, Johan Christian Dahl (Norwegian, Bergen 1788–1857 Dresden), Oil on canvas](https://substackcdn.com/image/fetch/w_1456,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F857147e3-2819-4d7a-a0c1-cfb910a2cd77_1200x807.jpeg)
Dahl’s rendition, while more emotionally charged, diverges from Turner’s in its impact. The volcano, though greatly dominating in scale and size, is relegated to the painting’s edge, rendering the scene as a narrative unfolding from left to right, with molten lava lines descending to the billowing smoke’s curvatures. In an almost poetic interplay of light and darkness, the artist presents a past, present, and future in one image. Here, formalism’s painterly qualities emerge as “edges become restless,” and geometric order dissolves into a picturesque blend of “freely moving forms of nature,” yet this approach provokes a detachment from the unfolding events, not to be discovered or felt by the viewer themselves. Despite similar visual cues, the absence of a red triangle entry point diminishes the paintings’ effectiveness. Artistic forms, self-referential by nature, are reinvented in the art and our “recollections of forms.” In Turner’s work, shipwrecks and bystanders recede behind the volcano’s imposing presence. From a formalist stance, this element singularly structures and anchors the sublime experience, drawing the viewer’s gaze and emotional response to its explosive core. The scene, frozen in time yet brimming with immediacy, beckons the viewer to engage with profound themes and emotions from a controlled distance.
Turner’s use of formal qualities in his depiction of the volcanic eruption is a masterclass in leading the viewer to a sublime experience. His lines are fluid and energetic, capturing the unpredictable ferocity of Vesuvius’s outburst. The swirling smoke and ash, reminiscent of Dahl’s portrayal, impart a palpable sense of motion, drawing the eye across the painting and allowing the viewer to feel the tumultuous movement of the eruption. The composition skillfully leads the gaze from the serene shores to the chaotic apex, magnifying the event’s magnitude and encapsulating its disorder.
The watercolor technique employed by Turner immerses the viewer in a palette that is self-complementary, forging a vivid contrast between the fiery reds and oranges of the volcano and the tranquil blues and purples of the surrounding landscape. This juxtaposition is not merely for the presentation of multiple scenes as in the previous renditions mentioned, but rather to seize the viewer’s attention in a singular, defining moment, accentuating the eruption’s heat and ferocity over all other experiences. Turner’s methods imbue the painting with texture and depth, lending a dynamic and almost tactile quality that animates the scene.
Radiant light emanates from the volcano, casting an intense – almost unbearable– glow over the canvas, dramatizing the moment and underscoring its peril. The dominating red triangle, central to Turner’s depiction, encapsulates the volcano’s explosive might, offering both a compositional anchor and a visual metaphor for the sublime. This triangle is not just a literal representation but also an abstract element, its form becoming an outlet for emotional resonance that is reinvented and central even in modern renditions of the scene done by Warhol. In Turner’s artistic vision, the formal qualities coalesce to elevate the viewer’s experience to one of awe and profound contemplation, embodying the very essence of the sublime.
![Andy Warhol - Vesuvius F.S. II 365 jpg Andy Warhol - Vesuvius F.S. II 365 jpg](https://substackcdn.com/image/fetch/w_1456,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F69bf9b41-84a3-48de-abfb-e45112395716_933x686.jpeg)
Turner’s artistry transforms a devastating natural event into an awe-inspiring visual narrative. His command of formal elements—light diffusion, contrasting calm and chaos—elevates the viewer’s experience to the sublime, a profound sense of awe that transcends mere observation. Turner’s art challenges the viewer to transcend the mere representation and to engage with the painting on a sensory level. The sublime is not just seen; it is felt. It is not just impacted by this approach; it is an integral part of it. The formal elements become the tools that craft the sublime, and Turner’s use of them invites the viewer into a dialogue with the untouchable. His work is a confluence of precise realism and emotive depth, urging viewers to reflect on nature’s formidable spectacle. Though the painting is steeped in classical allusions, these references are not needed for the viewer to understand the human response that one would have when experiencing this event, the painting offering a portal to navigate the tension between civilization’s order and nature’s chaos. Turner’s depiction goes beyond naturalistic portrayal, prompting a deep meditation on the sublime, where vulnerability converges with empowerment, and the spectacle of conflict highlights the sublime’s transformative essence in art.
The sublime, often seen as an emotional response at odds with formalism’s objective analysis, is redefined here. Form becomes the vessel for emotion: the sweeping lines, the stark contrasts, the harmonious interplay of colors all speak to the viewer through the emotions they elicit. The sublime is not just felt; it is constructed through the artist’s choices, revealing that the formalist method is not emotionless but a tool to unravel it. Analyzing the sublime through form allows the viewer to understand that the awe, the wonder, the ineffable sense of something greater, is not just a spontaneous burst of feeling but the culmination of a meticulous orchestration of form.
The formalist approach, far from diminishing the sublime, serves to highlight it, as it is through this lens that we come to appreciate the artistry that evokes potent reactions. The sublime, when dissected through form, initiates a profound dialogue between the artist’s technique and the viewer’s innermost feelings. A formalist analysis deepens our appreciation for Turner’s command of the visual language, showcasing how art’s formal elements can convey complex emotions and leave a lasting visual imprint. This perspective enriches our understanding of Vesuvius in Eruption, emphasizing the painting’s standalone merit as an embodiment of pure aesthetic wonder.
Bibliography:
Dahl, Johan Christian. An Eruption of Vesuvius. 1824. Oil on canvas. The Metropolitan Museum of Art, New York
Focillon, Henri. “Forms in the Realm of Time.” In The Life of Forms in Art, 137-156. Originally published 1939.
Tate. “Formalism.” Tate. https://www.tate.org.uk/art/art-terms/f/formalism#:~:text=Formalism%20describes%20the%20critical%20position,relationship%20to%20the%20visible%20world.
Turner, Joseph Mallord William. Vesuvius in Eruption. 1817–1820. Watercolor, gum, and scraping out on paper. Yale Center for British Art, Paul Mellon Collection
Volaire, Pierre-Jacques. The Eruption of Vesuvius. 1780. Oil on canvas. The Art Institute of Chicago, Chicago
Warhol, Andy. Vesuvius 365. 1985. Screenprint on Arches 88 Paper. Edition of 250, 50 AP, 10 PP, signed and numbered in pencil lower right.
Wölfflin, Heinrich. “Introduction” and “Chapter 1 (Linear and Painterly).” In Principles of Art History: The Problem of the Development of Style in Later Art, 1-62. Reprint, New York: Dover, 1950. Originally published 1915.