Storms in art

The only seascape painted by the great Rembrandt is Storm on the Sea of Galilee (1633). It shows Christ being calmness itself while his disciples panic, and one throws up over the side. Or perhaps that should be ‘showed’ as the painting was stolen from Boston in 1990 and has not been seen since.

At about the time Rembrandt was at work, landscape painting was emerging for the first time as a respected genre, The great French master Nicolas Poussin quickly latched on to the spectacle provided by a storm in his Landscape During a Thunderstorm with Pyramus and Thisbe (1651) with its trees bending in the fierce wind and its sky riven by lightning.

Poussin took a story from ancient Babylon, but during the seventeenth century, Dutch painters such as Ludolf Bakhuizen began to create naturalistic contemporary storm scenes, often with a hint of blue sky to demonstrate the wild weather was a temporary phenomenon and that order would soon be restored.

But by the end of the eighteenth century, a darker mood was emerging with painters such as the Frenchman Claude-Joseph Vernet painting tiny human figures striking anguished poses as a tempest rages around them. Like the great British depicter of storms, Turner, Vernet was said to have once had himself lashed to the mast of a ship in a tempest in the interests of research.

For more on storms in art, films, literature and religion, the worst storms of all time, and how storms have changed the course of history, see my new book, Storm: Nature and Culture (Reaktion). 

200 years ago today - the biggest volcanic eruption of modern history

200 years ago today, the Indonesian volcano of Tambora was spewing molten rock nearly 30 miles up into the atmosphere. It is a less famous disaster than Krakatoa, also in modern-day Indonesia 68 years later, but this was the most powerful eruption of at least the last 500 years.

The immediate death toll on the island of Sumbawa, where the volcano is located, was perhaps 12,000, but across the world, hundreds of thousands may have perished in the volcanic winter that came after the eruption, as ash blotted out the sun.

It brought starvation to China's Yunnan province, hunger and disease to India, while the great chill killed many across Europe as global temperatures fell by perhaps three degrees, with the effect persisting into the following summer. There were food riots in Britain and France, while soup kitchens had to be opened in Manhattan.

The ash meant many countries experienced strange, dramatic sunsets, some of which inspired the great painter, J.M.W. Turner, while the 'wet, ungenial summer' in Switzerland confined Mary Shelley and her friends indoors. For entertainment, they had a story competition. Mary's entry was Frankenstein. The rotten weather was even thought to have contributed to Napoleon's defeat at Waterloo.

For the full story, see A Disastrous History of the World.

Volcanoes, eruptions and art

Visited a fascinating exhibition at Compton Verney Museum, near Stratford-upon-Avon in Warwickshire, examining the way in which artists have portrayed volcanic eruptions. Vesuvius figures prominently, with a number of imaginative recreations of its devastation of Pompeii in AD79.

The 19^th century British artist John Martin, some of whose wonderfully demented pictures of the Last Judgment are exhibited in the Tate Britain, has a suitably fiery painting included. While Andy Warhol has a typically Warholesque picture of Vesuvius going up in smoke in lurid primary colours.

Also featured are a series of paintings by another 19^th century British artist, William Ascroft, who painted sketches of the psychedelic sunsets that we experienced in our skies after the 1883 eruption of Krakatoa, across the world in Indonesia. Volcanic eruptions made perfect subjects for perhaps the greatest of all British painters, J M W Turner, but like a number of artists represented in the show, he never saw one, and relied instead on written accounts and other people’s pictures.

Unfortunately, the exhibition is now over. I caught it on its last day.

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