Eastdam Church near Eastbourn Sussex Possibly 1866

Curator: We're looking at William Roxby Beverley's "Eastdam Church near Eastbourn Sussex," a drawing and etching on paper that likely dates to 1866 and now resides here at the Art Institute of Chicago. Editor: It's spare, almost severe. That thin graphite line sketches a building stripped of sentiment, conveying a quiet but palpable austerity. What’s the effect of such plain representation, I wonder? Curator: Indeed. Its lack of embellishment feels intentional. Beverley, known for his stage designs, chooses here a seemingly straightforward plein-air style. Consider the social context of the mid-19th century. The Church of England was undergoing considerable internal debate, with some questioning its relevance to the changing socio-economic landscape. This stark portrayal might be a commentary on that perceived detachment. Editor: That tower...it looms with purpose, no doubt, but its simplified geometric form renders it almost pagan. Observe the surrounding details. Are those simple benches near what could be a tomb, perhaps? We’re definitely invoking symbols of both faith and transience, aren’t we? The thatched-roof cottages in the background offer such an interesting contrast. Curator: Exactly. We must think about class distinctions in England at this time and the church’s role within that structure. How much did the church attend to or ignore social disparities? Editor: Note, too, how he reduces those homes to their essential forms. There is something quite beautiful in the economy of line that manages to render the humble buildings, and contrast it with the solid tower! Curator: Perhaps the buildings echo the broader political tensions concerning land ownership and access. A church, physically towering over rudimentary homes. Its simplicity complicates notions of power and access, wouldn’t you agree? Editor: Absolutely, the steeple piercing the heavens, yet tethered to earthly concerns by those very houses that surround it. A strong depiction, regardless of its intent. Curator: Ultimately, this etching invites us to reflect on the church as not just a place of worship but also an establishment enmeshed in power dynamics. Editor: Indeed, an enduring visual record speaking volumes even through its modest presentation.