Printing Context
In his book,
Arctic Spectacles: The Frozen North in Visual Culture, 1818-1875 (2007), Russell A. Potter writes: "Beginning with the Buchan expedition to the North Pole in 1818 (on which then Lieutenant John Franklin served as second officer), nearly every expedition licensed the sketches of its artistically inclined officers to panorama exhibitors.” This was partially a by-product of the fact that “for each major expedition” that the Admiralty launched, “an official representation had to be provided, not just textually but also visually”—that is, the narrative examined here. Meanwhile, panoramas (an “all-encompassing” visual technology for which Robert Barker first received his patent in 1796) were “almost exactly coeval with [the] public fascination with the North” (Potter 5-7). Indeed, Potter contends that the Arctic was “the most ‘sublime and awful’ spectacle of that already spectacular era,” which fact was emphasized by the “60 Arctic shows—including 22 moving panoramas, 3 fixed panoramas, 12 lantern expeditions, 4 mechanical automata theaters, and 4 exhibitions of “Esquimaux” or Arctic natives” between 1818 and 1883” (12).
The accuracy of this superlative is debatable, especially given the strong interest in the Alps during the same time period and the lack of information about how Back’s images (among other Arctic travelogues) were received. However, it is clear that there was intense interest in the Arctic as artistic—and, particularly, exotic—subject even beyond the many panoramas: for example, Caspar David Friedrich’s lost painting,
Wrecked Ship off the Coast of Greenland under a May Moon (1822), was sold to Empress Catherine of Russia. Later, Friedrich painted his wildly popular
Sea of Ice (1823), in which a “heaped-up pyramid of ice-slabs, jaggedly enjambed by the pressure of the floes, tilt[s] dangerously to the left of the field of view. It is only after tracing the outline of this icy mass that the viewer notices the stern of a sailing-ship off to the right, its masts carried away and crushed like toothpicks under the looming ridge of ice” (Potter 58). Finally, William Westall was another artist who helped create a particularly romanticized vision of the Arctic, and Martin Meisel notes that “nautical melodramas” were highly popular as plays during this time (197).
Associated Events
Founding of the Society of Painters in Water-Colours (1804)With the formation only in 1804 of the Society of Painters in Water-Colours, this medium of painting was not commonly thought of in the years of Back’s youth as a professional art. But at the close of the 19th century the transition began to occur from topographical draughtsmanship, which the academies taught military students, to picturesque renditions of nature. (Maclaren 293)
Founding of the Royal Geographic Society (1830)
The Royal Geographic Society (RGS) was established in 1830. It "increasingly took responsibility for both promoting polar research and publishing the results"; furthermore, "one of the first expeditions the Society supported was that of Sir George Back to the Canadian Arctic in 1832” (David 63-6). The RGS also produced the
Proceedings Journal and then the
Geographical Journal in order to record expeditions, provide illustrations, and provide information for new explorers, as well as to provide interim reports on those expeditions (David 63-6).
Associated Places
The Hoarfrost River
The Hoarfrost River is approximately 60 miles ENE of the town of Yellowknife in the Northwest Territories.
Associated Texts
Sir George Back variously painted or drew his images while on his expeditions, depending on the weather; in very cold temperatures his paints would freeze, so they were frequently rendered useless. These originals appear to be scattered among various private collections.
This particular image was printed for Back's
Narrative of the arctic land expedition to the mouth of the Great Fish River and along the shores of the Arctic Ocean, in the years 1833, 1834, and 1835 (1836). Other notable polar expedition narratives published during this immediate period include:
By Sir George Back:
Narrative of an expedition in H. M. S. Terror, undertaken with a view to geographical discovery on the Arctic shores, in the years 1836-7 (1838)
By Sir John Franklin:
Narrative of a journey to the shores of the Polar Sea, in the years 1819-20-21-22 (1824)
By Sir John Ross:
A voyage of discovery, made under the order of the Admiralty, in His Majesty’s ships Isabella and Alexander, for the purpose of exploring Baffin’s Bay, and inquiring into the probability of a North-west Passage (1819); and
Narrative of a second voyage in search of a north-west passage, and of a residence in the Arctic regions during the years 1829, 1830, 1831, 1832, 1833. By Sir John Ross ... Including the reports of ... James Clark Ross ... and the discovery of the northern magnetic pole (1835)
By Sir William Edward Parry:
Journal of a voyage for the discovery of a north-west passage from the Atlantic to the Pacific; performed in the years, 1819-20, in His Majesty’s ships Hecla and Griper, under the orders of William Edward Parry (1821);
Journal of a second voyage for the discovery of a northwest passage from the Atlantic to the Pacific; performed in the years 1821-22-23, in His Majesty's ships Fury and Hecla, under the orders of Captain William Edward Parry (1824); and
Journal of a third voyage for the discovery of a northwest passage, from the Atlantic to the Pacific: performed in the years 1824-25, in His Majesty's ships Hecla and Fury, under the orders of Captain William E. Parry (1826)
Subject
One of Sir George Back's most picturesque images from Narrative of the Arctic Land Expedition, "Beverly's Falls" also subtly challenges that convention with its lowered viewpoint, the realistic scale of its subjects, and Back's sublime-inflected description of the scene in the accompanying narrative.Theme
Picturesque. British. Landscape. Exploration. Arctic.Significance
On the one hand,
Beverly's Falls is one of Back's most classically picturesque images, easily adhering to I.S. Maclaren's gloss of that form:
Although they would often add unique ideas to their descriptions and depictions, travelers understood as well that the essence of the picturesque was . . . a small-scale topography—no huge land-forms and no endless vistas—that divided itself into a foreground, middle ground, and background . . . The mood was one of repose, the tone pastoral. Usually, this consummate picturesque effect demanded a foreground animated by people (staffage) or domesticated animals; thereby the scene was endowed with a human presence and a human scale. (288)
There are dissenting features, however, that are worth noting. They include the lowered perspective—we view the land from a point even below the humans—and the fact that the men are realistically scaled. Furthermore, Back writes the accompanying text using markedly sublime language:
We now learned from the Indians that the fall, to which, after my enterprising friend Beverley, the companion of Sir E. Parry in his attempt to reach the Pole, I have given the name of Beverley's Falls, was the commencement of a series of appalling cascades and rapids, which, according to their account, were the distinguishing characteristics of Hoar Frost River. (Narrative 113-14)
This image thus exemplifies the difficulty of depicting the Canadian Arctic within any single, theoretical or aesthetic framework.
Function
Stuart C. Houston notes that:
The world’s greatest naval power and its underemployed navy after the end of the Napoleonic Wars found the continued presence of large blank areas on the world map an irresistible challenge. John Barrow, the powerful second secretary to the Admiralty, had strong backing from the newly important scientific community to renew the search for the Northwest Passage after a long wartime hiatus. (xiv)
In addition to simply providing visual aids for a travel narrative, then, Back’s images must be seen as integral to the literal illustration of those “large blank areas” that Britain wanted to conquer. Expedition imagery during the Romantic period addressed other needs as well, including the translation of “otherness”—which the Arctic so easily exemplified in its comparatively uninhabited starkness—into a culturally understandable, and thus accessible, space for national expansionism and the application of identity. Furthermore, in ostensibly drawing accurate portrayals of the landscape (which Franklin frequently confirms), Back created scientific records designed to both titillate and inform the British public and scientific community.
Bibliography
Ames, Van Meter. “John Dewey as Aesthetician.”
The Journal of Aesthetics and Art Criticism 12.2 (1953): 145-68. Print.
Back, George.
Arctic Artist: The Journal and Paintings of George Back, Midshipman with Franklin, 1819-1822. Ed. C. Stuart Houston. Buffalo: McGill-Queen’s UP, 1994. Print.
---.
Narrative of the Arctic Land Expedition to the Mouth of the Great Fish River and along the Shores of the Arctic Ocean, in the Years 1833, 1834, and 1835. London: 1836. Print.
Broglio, Ron.
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Canada Department of Mines and Technical Surveys, Geographical Branch.
An Introduction to the Geography of The Canadian Arctic. Edmond Cloutier: Ottawa, 1951. Print.
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Objectivity. New York: Zone Books, 2007. Print.
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---. Introduction. Heringman 1-22.
---. “The Rock Record and Romantic Narratives of the Earth.” Heringman 53-85.
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Arctic Artist: The Journal and Paintings of George Back, Midshipman with Franklin, 1819-1822. By George Back. Ed. Houston. Buffalo: McGill-Queen’s UP, 1994. xiii-xxvi. Print.
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Arctic Artist: The Journal and Paintings of George Back, Midshipman with Franklin, 1819-1822. By George Back. Ed. C. Stuart Houston. Buffalo: McGill-Queen’s UP, 1994. 275-310. Print.
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Arctic Spectacles: The Frozen North in Visual Culture, 1818-1875. Seattle: University of Washington Press, 2007. Print.
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Long Title
Narrative of the Arctic Land Expedition to the mouth of the Great Fish River, and along the shores of the Arctic Ocean, in the years 1833, 1834, and 1835; by Captain Back, R.N., commander of the expedition. Illustrated by a map and plates. London: John Murray, Albemarle Street. MDCCCXXXVI.
