I was in London last weekend, and in the hours between arriving and going to the thing we were actually therefore, my wife and I swung by the Tate Britain to see the Ray Harryhausen exhibit. It isn’t a full-scale exhibition; it’s what’s called a “spotlight,” a little one-room exhibit, but if you’re in the area, it’s pretty great.
One of the things I felt like the exhibit did well was go beyond just being a nostalgia trip to locating Harryhausen in his context. By showing art from his collection, as well as art from the Tate’s collection by painters who influenced him (especially John Martin), it situated his work in its tradition. Harryhausen was greatly influenced by 19th-century illustration and spectacular painting. These genres weren’t necessarily respected by critics at the time; they were thought to be unsubtle and focused on popular entertainment, a criticism Harryhausen’s work typically faced as well.
Of course, that’s probably no surprise to you if you know more than the smidgen I know about art history. I’ve been thinking a lot lately about the trajectory of adventure entertainment in our culture, partly as a result of my new podcast, Monster Man, which is all about the 1977 Advanced Dungeons and Dragons Monster Manual.
That sounds like a tenuous link, maybe, but I really do think the Monster Manual shows a genre, or set of genres, on the brink of a transformation between the legacy of 19th-century adventure fiction and a new status as a distinct cultural entity. And when you look at these spectacular paintings of classical or Biblical scenes while the trailer for Sinbad and the Eye of the Tiger plays next to you, I think you can see something similar.
Anyway, I thought it was fascinating. I don’t know that it’s worth making the trip to London for, not being huge, but if you’re in the area it’s definitely worth a look.