Dimensions: support: 270 x 397 mm
Copyright: CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: Samuel Scott's "An Arch of Old Westminster Bridge" presents a slice of 18th-century London, capturing a moment in the city's evolving identity. Editor: The immediate impression is one of solid construction, an almost stoic permanence evoked by the sheer mass of the bridge dominating the composition. Curator: Bridges, of course, symbolize connection, transition. The Old Westminster Bridge, even in fragmentary view, held immense symbolic weight as a modern marvel in its time. Editor: And Scott emphasizes that weight through compositional choices: the bridge as a weighty horizontal that nearly bisects the canvas, the strong diagonal thrust of the arch itself. Curator: Note also the figures atop the bridge, seemingly observing, mediating between urban progress and the timeless flow of the river—a shared cultural experience. Editor: Agreed, and the artist's handling of light accentuates this: a soft, almost muted palette, yet with precise gradations to define the architectural forms. Curator: It’s a glimpse into a London both familiar and distant, charged with meanings about commerce, society, and our place within the landscape. Editor: Ultimately, Scott renders not just a bridge, but a potent emblem of its era through structural and formal acuity.
Comments
http://www.tate.org.uk/art/artworks/scott-an-arch-of-old-westminster-bridge-n01223
Join the conversation
Join millions of artists and users on Artera today and experience the ultimate creative platform.
Scott was primarily a painter of marine and river views, especially of the Thames. The latter were inspired by those of Canaletto who, like Scott, was interested in the construction of old Westminster Bridge. Construction began in 1739, but Scott's paintings of it were probably done in 1750 just before it was opened to traffic. This particular oil is one of five versions. Its small size suggests that it is possibly the first Scott painted, worked up from pencil studies made on the spot, to test ideas he had for his much larger and monumental work. Like Canaletto, Scott has included a touch of humour: on top of the balustrade a construction worker is taking a well-earned break. Gallery label, September 2004