Art of the Waiting World
We also pass through shared liminal spaces in the real world: train stations (and trains!), airports, elevators. Consider the following works, then discuss with your team: in what sense does each of them depict a liminal setting?
- J.M.W. Turner | Rain, Steam, and Speed (1844)
- William Powell Firth | The Railway Station (1862)
- Tsukioka Yoshitoshi | Picture of the Railroad at Takanawa (1871)
- Claude Monet | Gare Saint-Lazare (1877)
- Yilan Folk Song | “Drip, Drip, Drip” (c. 1924)
- Steve McCurry | Train Station, Agra, 1983 (1983)
- Richard Artschwager | Six in Four (2015)
Every work — at a glance
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Rain, Steam, and Speed — J.M.W. Turner (painting)
Turner's 1844 canvas of a Great Western Railway train crossing a bridge through a storm, everything solid dissolving into gold and grey except the black nose of the engine. A hare runs ahead on the track, easily missed. Liminal as pure motion: nobody in it has arrived or departed, they are simply mid-passage.
+ 6 more works explained inside
What to know
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01
In what sense is each of these a liminal setting? Set side by side they split two ways. Rain, Steam, and Speed and Gare Saint-Lazare give liminality as motion — Turner dissolves a train into weather, Monet paints the steam instead of the station — while Frith's platform and McCurry's Agra give it as suspension, a crowd held still between trains. The Yilan song and the Whitney elevators do both at once: you are moving, and you cannot see out.
+ 1 more insight inside
Across subjects
Theme connection
"Are We There Yet?"
Practice — a sample
ARTWhy did Monet choose to paint the Gare Saint-Lazare about a dozen times?
- A To catch the light
- B To sell paintings
- C To please the railway
- D To record the station
- E To copy Turner
Sign in to answer and see why each option is right or wrong.
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