1797 Sculpture

Jonathan Edwards. A name whispered on the winds of time, etched in metal, and standing proudly before you as the 1797 Sculpture. This curious artwork, crafted by Ptolemy Elrington and erected in 2014, isn’t just a piece of metal. It’s a portal to a year brimming with artistic upheaval and political intrigue. The 1797 Sculpture invites us to journey back to a London captivated by the “Venetian Secret.” A supposed lost technique of the Old Masters, it promised to revolutionize color in art. Artists scrambled to unlock its mysteries, paying handsomely for access to what turned out to be a fabricated manuscript. The Royal Academy exhibition of 1797 showcased works created using this “secret” system, including those by Benjamin West. Critics like Anthony Pasquin, however, were less than impressed. West’s Crucifixion was likened to “old coloured china,” his St. Michael to figures “soused in pickled cabbage juice.” The 1797 Sculpture, with its simple inscription, serves as a stark reminder of the clash between artistic innovation and public perception. While the “Venetian Secret” ultimately proved to be a hoax, it sparked a debate about the very nature of art. Was true genius found in formulas and secrets, or in the direct observation of nature? This year also saw the rise of a young J.M.W. Turner, whose landscapes, rooted in the observation of nature, were praised for their truthfulness. As we stand before the 1797 Sculpture, we can almost hear the echoes of this debate. The whispers of artists experimenting with new techniques, and the scathing critiques of those who found them wanting. Remember, this sculpture isn’t just about art, it is a snapshot of a pivotal year, a year that reminds us that even in the world of art, deception and discovery often go hand in hand. The 1797 Sculpture stands as a silent witness to a turbulent year of artistic innovation.