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J.M.W.Turner The Fighting Temeraire,Tugged to her Last Berth to be broken up mk129
1838
The Temeraire named after a French ship,
was a ship of the line of 98 guns.
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J.M.W.Turner the hero of a hundred fights 1800-10 reworked 1847
oil on canvas 91x121cm tate, london
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J.M.W.Turner aeneas and the sibyl, lake avernus 1798 oil on canvas 76.5x98.5cm
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J.M.W.Turner radley hall from the south east 1789. pencil and watercolour with some pen and brown ink 29.4x43.8cm
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J.M.W.Turner the archbishop's palace, lambeth 1790 pencil and watercolour 26.3x37.8cm
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J.M.W.Turner caernarvon castle from picturesque views of the antiquities of england and wales 1786 24x39cm
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J.M.W.Turner caernarvon castle from picturesque 1786 24x39cm
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J.M.W.Turner the pantheon, the morning after the fire 1792, watercolour over pencil 39.5x51.5cm
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J.M.W.Turner study of the head and torso of the apollo belvedere 1792 black and white chalks on buff-grey paper 41.9x26.9cm
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J.M.W.Turner transcription of part of rooker's battle abbey 1792
watercolour 17.2x14.6cm
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J.M.W.Turner christ church from near carfax 1796 watercolour over pencil with pen and dark ink 25x33.1cm
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J.M.W.Turner south gate of sargans 1794-7 grey ink washes over pencil 24.1x37.4cm
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J.M.W.Turner trancept of ewenny priory glamorganshire, 1797 pencil watercolour scratching-out and stopping-out
40x55.9cm
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J.M.W.Turner the dormitorg and trancept of fountain's abbey-evening 1798 watercolour 45.6x61cm
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J.M.W.Turner morning amongst the coniston 1798 oil on canvas 123x89.7cm
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J.M.W.Turner caernarvon castle 1799 watercolour over pencil 57x82.5cm
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J.M.W.Turner valley of the glaslyn near beddgelert, with dinas emrys 1799
watercolour with pencil 55.5x76.7cm
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J.M.W.Turner dolbadarn castle 1800 oil on canvas 119.5x90.2cm
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J.M.W.Turner the fifth plague of egypt 1800 oil on canvas 121.9x182.9cm
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J.M.W.Turner dutch boats in a gale fishermen endeavouring to put their fish on board
1800 oil on canvas 162.5x221cm
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J.M.W.Turner
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English Romantic Painter, 1775-1851, British land- and seascape artist. Born in London the son of a barber, Turner was precociously talented. He entered the RA Schools in 1789, had a drawing exhibited at the academy in 1790, and was elected a full academician in 1802. He became professor of perspective in 1807. A prolific artist of amazing range of subject and style, he began work in water-colours, quickly founding both a reputation and a fortune, which made him independent of changing public taste. His work was not appreciated by everyone, but his supporters included Thomas Lawrence, John Ruskin, and the earl of Egremont. He died in eccentric obscurity under a false name.
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