Detraining in England c. 1917

Curator: Claude Shepperson's print, "Detraining in England," kept at the Tate, just vibrates with a stark sort of energy. What strikes you first? Editor: That almost suffocating darkness. It feels like a cave, or maybe more aptly, the belly of some metallic beast. The wounded being unloaded… it’s a visceral scene. Curator: Absolutely. The crosshatching gives it that oppressive feel. It's a snapshot of the wounded arriving, perhaps during the First World War. Notice how Shepperson uses light – those sharp contrasts – to really pull you into the heart of the scene. Editor: The stretcher-bearers almost seem like Charon ferrying souls across the Styx. Those ambulance cars are modern, but the scene itself... it echoes something ancient, a ritual of pain and passage. Curator: It’s a poignant reminder of the human cost, isn't it? Editor: Indeed. It’s a scene that speaks volumes about sacrifice and the somber realities of that era.