Russell
A. Potter
University
of Washington Press, 2007
ISBN
(cloth): 978-0-295-98679-1 $50
ISBN (soft):
978-0-295-98680-7
$35
Reviewed
by Huw Lewis-Jones
Like new movies, plays or performances,
there are many books that demand attention each season. Some are much talked
about but can soon be forgotten; others step modestly into the limelight and
miss the applause that they actually merit. Released with little fanfare two
years ago, Arctic Spectacles is a
magnificent polar book that deserves the highest ovation.
I first read some manuscript chapters
long before it was published, whilst labouring with my own doctoral research.
Potter was well known to collectors and lovers of nineteenth-century print
culture for his intriguing web-museum – a trove of obscure polar
ephemera, reassembled into a cabinet of online curiosity, to help students
explore the Franklin tragedy – but it is only recently that this
insatiable cultural approach has entered the academic mainstream. Through
engravings, caricatures, magic lantern shows, from rolling panorama to
implausible theatrical spectaculars, we can encounter the growing public
appetite for expeditions amid the perils of the icy North. But, before we
rollick among gorgeous polar playbills and other visual delights, it seems
right to begin with the bears.
Sir Edwin Landseer’s haunting critique of
polar ambitions, Man Proposes - God
Disposes, continues to challenge our imagination. Displayed in public for
the first time in 1864, people cried when they saw it. There are no heroes on
the ice, just the wreckage of a ship, a chaotic tumble of icebergs, and a polar
bear chewing on the Union Jack: a hostile Arctic consuming human failure. The Times praised its originality in
grasping at ‘the heart of … ferocity and desolation’. The critic William
Rossetti gushed that animal painting had now ascended to a new and glittering
empyrean. Yet others found it utterly unpalatable, purging their distaste by
writing letters to the press. The
Illustrated London News declared the painting ‘too purely harrowing for the
proper function of art’. Yet, of course, the delight in art - as in theatre,
film, or a polar book - is that art draws a range of opinions.
Far from the scandal of this first Royal
Academy show, the painting returned to fashionable prominence for the winter
exhibition of 1874 as metropolitan eyes were turning again to the North. A new
British North Pole expedition departed Portsmouth with full pomp the following
year. The painting sold at auction in 1881 for £6,615, a record price for the
artist that held for over a decade. One discovers the canvas gracing the halls
of the Exposition Universelle in Paris in 1878; it appears in the polar section
of the Court of Heroes at the Wembley
British Empire Exhibition in 1925. More recently, it appeared in the V&A
material culture extravaganza Victorian
Vision and in 2005 the Carnegie Museum lead the bloodthirsty bears out into
the public arena again for Fierce Friends,
an exhibition which showcased the relationship between artists and natural
world. In 2008, I used the image as a point of discussion in the BBC
documentary Wilderness Explored
– the painting providing a taut historic counterpart to the very latest
in Arctic visions, in this instance some superlative wildlife cinematography
from the BBC Natural History Unit.
But why this bite-sized
account of the wanderings of a painting? Well, in his long-awaited, and beautiful
book Arctic Spectacles, Potter
employed these ravenous beasties on his front cover. I wondered why this was,
when there were so many other nineteenth-century polar images he could have
chosen – such was the explosion of visual culture during this period.
Quite simply, it was one of his favourites. Certainly it was, and is, a
powerful image. It has a recurring resonance, but as Potter had access to so
many other rare and unique visuals, why cram these familiar bears into an
imagined lanternslide? Well, the conceit is soon clear. We are reminded that
the image has travelled far over the years, inspiring different responses from
different audiences. The bears are often put to use. The image has been hidden
in a corridor, honoured at functions, gobbled-up by picture researchers to
decorate television programmes, projected on lecture screens aboard polar
cruise-ships, cut-and-pasted into school projects. It provides a good example
of the way that tastes (for art, as much as for exploration) can change.
Reacting to the tragedy of the missing Franklin expedition, Landseer had found
material for a biting satire about the vanity of human effort. And that’s the
heart of Potter’s book – gauging the way that polar exploration seized
public imaginations and how its visual vocabulary was drawn from wide sources of
inspiration. Like Landseer, individuals respond creatively in varied, often
surprising ways.
Sometimes the reactions were
straightforward – passing interest perhaps gave way to mild adulation for
the returning explorer-heroes. On other occasions ridicule and criticism was
heaped heavily upon weary shoulders like a sudden snowfall. Yet interest in
exploration would often melt away as quickly as it appeared, the vogue shifting
elsewhere. In London alone, it is worth remembering how many people and organisations
were indifferent to the promise of exploration, and that many vigorously
condemned the idea of a journey to the North. Some mounted effusive exhibitions
in honour of their polar heroes; others wrote comic songs poking fun at their
failings.
Potter chronicles these fluctuating
tastes with a vitality that the subject deserves. His research has energy and
playfulness. Far from the deadening slowness of months stuck, ice-bound in
winter-quarters, polar explorers returned home to a riot of colour, show and
spectacle, applause and acrimony. Our polar history writing needs to take stock
from this and embrace the eclecticism and cultural vibrancy of varied source
materials. Arctic Spectacles is not
definitive, but that was never the aim. Where is the enjoyment in that? Potter
draws back the curtain, reminding us of the possibilities within private and
public archives, inviting future researchers to join him and step inside.
There is a useful ‘check-list’ of shows
and entertainments to guide the newcomer to this material, but one can add to
it fairly easily now, with web access to new archives, and ever more accurate
electronic searching aids. It is still a case of having to know where to look,
sure, but great material seems to insist on surfacing in places where least
expected. The Internet has not imperilled serious research – it has
vitalised it. I have spent the last five years or so in collections across
Britain and North America and electronic catalogues, as much as very tolerant
archive staff, have made it possible to find much new
material. Fresh leads appear in the ice, even within subjects familiar to
seasoned polar historians.
In the last few years I have been able to
discover delicious details about new Arctic spectacles. In 1818 Barrymore’s
melodrama The North Pole opened at
the Royal Coburg Theatre, with a fully rigged ship ‘effecting her passage
through floating islands of ice’. Charles Dibdin cavorted fashionably amongst
the ice during the Christmas pantomime at the Theatre Royal Drury Lane over the
festive season of 1820. The nautical melodrama Captain Ross; or, the Hero of the Arctic Regions opened in 1833 at
London’s Royal Pavilion Theatre, and before long its motley crew of characters
journeyed to stages in the provinces just as they were crafted into toy theatre
miniature-heroes for parlours and nurseries across the country. We can now add
a number of Alexandra Palace spectaculars to an expanding list, also the Royal
Naval Exhibition of 1891 - unsurpassed in the quality of its polar artefacts -
and Hagenbeck’s zoological entertainments with Nansen’s polar exploits
performed before icy dioramas and dancing bears.
The playbill of nineteenth-century polar
performances increases all the time. Moving beyond official travel narratives
and commonplace journal and press reviews – the main fodder of past polar
histories, looking to provide ‘period context’ – there is a feast of
material now available to help us better understand changing public interests
in polar explorers. Without giving due attention to these types of primary, yet
often ephemeral, sources a claim of ‘examining public imaginations’ falls very
short. Potter succeeds where others have just made gestures.
There are many individuals with new
stories to be told and this book introduces a cast of odd and interesting souls
to grace any melodrama. But there are countless coves yet to be met. We not
need restrict ourselves to the famous, but be energetic in search of the
obscure and the neglected. As Arctic
Spectacles developed Russell and I chanced upon the showman-explorer John
Cheyne, madcap aeronaut and polar lecturer. There is still more to learn about
him, the few people who thought his balloon plans quite brilliant, and the
great many for whom he was thought nothing short of an implausible and
dangerous lunatic. I am now intrigued by the American showman Jean Paul
Wolfstenberger, whose Mirror of the Arctic is said to have wowed audiences in London
sometime before 1860. I smile and imagine Mr Rignold’s colossal moving
panorama, which dominated seaside coffee halls in the 1870s. Or, what of Urio
Etwango, a Greenlandic Inuk who
willingly journeyed to Dundee in 1886 to experience the undoubted joys of a
Scottish winter? I want to know more about the Inuit Tookoolito, Ebierbing and the
young boy Haralukjoe, presented to Queen Victoria at Windsor Castle in 1853. I
try hard to understand the semiliterate Yankee whaler Samuel Hadlock Jr who
forced two ‘Esquimaux’ from Baffin Island, displaying them as trophies at the
Egyptian Hall in London. Clearly, there are new heroes and villains to be found
in the pageant of nineteenth-century exploration.
Like the many spectacles that Potter features, this book has generated differing responses
from its audience. Some critics have overlooked its original approach whilst a
few have been cruel in their misunderstanding. Yet, the Journal of Popular Culture rightly declared it a ‘fine study’, born through a decade’s research
and collecting. Alaska History
delighted in its ‘revealing and thought-provoking’ narrative. If something of
academic jargon-ese were necessary, then I would praise Potter’s attention to
the performative aspects of polar exploration within the theatre of public
tastes. Put more simply, this
is the most enjoyable study of Arctic visual fascinations yet published. We are
encouraged to look beyond the pole, beyond a monotonous account of the daily
events of exploration life, to consider a broader, more nuanced, and joyously
more colourful culture of exploration
– as told by its showmen, performed in theatres, reported in newspapers
and read by the fireside. If one moves to consider travel, adventure,
photography and motion pictures too, then the range of spectacles before us is
almost limitless.
Declaring my interest, as a friend and a
colleague, I was always going to review this book in appreciative terms. It is,
in my opinion, one of the best polar books of the last ten years. It follows
the elegant musings of Francis Spufford and Beau Riffenburgh’s groundbreaking Myth of the Explorer in opening up new
areas for our research. Its curiosity and love of the ephemeral deserves for it
the warmest praise. The late Richard Altick would have been both intrigued and
mightily impressed. If fortune had me a be-whiskered nineteenth-century
showman, I would have gladly tucked a thumb into the pocket of my
generously-striped waistcoat, raised my Coke bowler to the sky, and bellowed
out to punters all around: “Ladies and Gentleman, roll up, roll up, pray behold
and then buy – the Fantastic, Mesmerical, Arctic and Icicle, Professor
Potter’s Panoramical, the Spectacle of the Season!”