It is Finished 1875

Editor: We’re looking at "It is Finished," a marble sculpture of Christ from 1875 by Lord Ronald Sutherland Gower, documented by a gelatin-silver print. The expression is very serene despite the crown of thorns. How do you interpret this work through a historical lens? Curator: Well, first it is interesting that it’s documented by photography; this choice gives the work an interesting circulation and suggests the sculpture was made with an audience beyond a single space in mind. More generally, in the Victorian era, religious sculpture took on new importance within the broader aesthetic and socio-political landscape. Gower, from an aristocratic background, was engaging with complex dialogues surrounding faith, morality, and empire. Does this marble, evoking Neoclassicism, signal an imperial project to you? Editor: Possibly, given the material and the classical style, but it seems softened, almost mournful. I guess I'm thinking of the role of religion and faith in legitimizing the Empire... Curator: Exactly! The piece also raises questions about the public function of art, doesn't it? To what extent does it offer genuine spiritual solace versus serving as a cultural symbol for the elite and, more widely, imperial stability? How does this mournful representation, meant for potential reproduction, impact its role? Editor: That tension between personal expression and public consumption is definitely thought-provoking, particularly with such a loaded religious subject matter. It makes you wonder who the intended audience was for this sculpture, beyond its immediate patrons. Curator: Precisely. Thinking about the sculpture, photograph, and context helps us consider how power and piety intertwined during the late 19th century. Thank you, this exercise was truly stimulating! Editor: Yes, this has been great! Thank you!