Great engineers are usually celebrated for their innovative and ingenious constructions which come to be admired by future generations. But how many of those engineers are also acclaimed for combining engineering draughtsmanship with an ability to produce masterful watercolour paintings? Not many – this realm has traditionally been the preserve of architects.
So, it might come as a surprise to some to learn that Isambard Kingdom Brunel and his father Marc had an artistic flair that is often overshadowed by their unparalleled engineering skills. As a boy, Marc Brunel had excelled at drawing and painting, passing this talent on to his young son who he taught to draw perfect circles – freehand¹.
Art was important to both father and son. In later projects, Isambard saw the creation of engineering structures as an opportunity for artistic display. He was keen to provide the GWR with ornamental art, while his initial designs for the Clifton Suspension Bridge show strong references to Ancient Egyptian architecture.
The Thames Tunnel was Isambard’s first project – and his father’s last. During its construction (1825-1843), the pair (along with assistant Richard Beamish) produced a series of hand drawn and painted images that show a masterful understanding, not only of the rules of perspective but also of colour and of three-dimensional representation on a two-dimensional surface. The Brunel Watercolours are consequently a striking series of 30 images produced during the construction of the world’s first successful underwater tunnel.
According to the Brunel Museum, London, the watercolours show that Marc Brunel tested and redrafted his ideas on paper before any construction work had begun.
“[The paintings] are striking artworks in their own right. They are full of humanity, showing that innovative technical drawings can also be beautiful,” said a museum spokesperson.
Forgotten for nearly 200 years and never before on public display, the watercolours were bought in 2017 at auction by the Brunel Museum, thanks to the generosity of the National Heritage Memorial Fund: the Art Fund; the V&A Purchase Grant Fund; and the Friends of the National Libraries.
Now, the museum needs to raise £18,500 (US$24,100 / €22,000 approx.) to house the paintings within a purpose-built, archive-quality display system that will protect them. This is thought will secure the future of the art works and allow them to be enjoyed by generations to come.
Readers of T&T who wish to support the campaign can learn more – and make a donation – at:
www.artfund.org/art-of-engineering
