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Joseph Mallord William Turner
English Romantic Painter, 1775-1851 Joseph Mallord William Turner (23 April 1775 ?C 19 December 1851) was an English Romantic landscape painter, watercolourist and printmaker, whose style is said to have laid the foundation for Impressionism. Although Turner was considered a controversial figure in his day, he is now regarded as the artist who elevated landscape painting to an eminence rivalling history painting. Turner's talent was recognised early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterised by a chromatic palette and broadly applied atmospheric washes of paint. According to David Piper's The Illustrated History of Art, his later pictures were called "fantastic puzzles." However, Turner was still recognised as an artistic genius: the influential English art critic John Ruskin described Turner as the artist who could most "stirringly and truthfully measure the moods of Nature." (Piper 321) Suitable vehicles for Turner's imagination were to be found in the subjects of shipwrecks, fires (such as the burning of Parliament in 1834, an event which Turner rushed to witness first-hand, and which he transcribed in a series of watercolour sketches), natural catastrophes, and natural phenomena such as sunlight, storm, rain, and fog. He was fascinated by the violent power of the sea, as seen in Dawn after the Wreck (1840) and The Slave Ship (1840). Turner placed human beings in many of his paintings to indicate his affection for humanity on the one hand (note the frequent scenes of people drinking and merry-making or working in the foreground), but its vulnerability and vulgarity amid the 'sublime' nature of the world on the other hand. 'Sublime' here means awe-inspiring, savage grandeur, a natural world unmastered by man, evidence of the power of God - a theme that artists and poets were exploring in this period. The significance of light was to Turner the emanation of God's spirit and this was why he refined the subject matter of his later paintings by leaving out solid objects and detail, concentrating on the play of light on water, the radiance of skies and fires. Although these late paintings appear to be 'impressionistic' and therefore a forerunner of the French school, Turner was striving for expression of spirituality in the world, rather than responding primarily to optical phenomena. Rain, Steam and Speed - The Great Western Railway painted (1844).His early works, such as Tintern Abbey (1795), stayed true to the traditions of English landscape. However, in Hannibal Crossing the Alps (1812), an emphasis on the destructive power of nature had already come into play. His distinctive style of painting, in which he used watercolour technique with oil paints, created lightness, fluency, and ephemeral atmospheric effects. (Piper 321) One popular story about Turner, though it likely has little basis in reality, states that he even had himself "tied to the mast of a ship in order to experience the drama" of the elements during a storm at sea. In his later years he used oils ever more transparently, and turned to an evocation of almost pure light by use of shimmering colour. A prime example of his mature style can be seen in Rain, Steam and Speed - The Great Western Railway, where the objects are barely recognizable. The intensity of hue and interest in evanescent light not only placed Turner's work in the vanguard of English painting, but later exerted an influence upon art in France, as well; the Impressionists, particularly Claude Monet, carefully studied his techniques.

 

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Joseph Mallord William Turner Fairyland oil painting

Painting ID::  55078

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Joseph Mallord William Turner
Fairyland
mk239 1911-1912 Watercolour 30.1x20.5cm
   
   
     

 

 

Joseph Mallord William Turner Black arc oil painting

Painting ID::  55079

X 
 

Joseph Mallord William Turner
Black arc
mk239 Oil on canvas 1912 188x196cm
   
   
     

 

 

Joseph Mallord William Turner Expression oil painting

Painting ID::  55080

X 
 

Joseph Mallord William Turner
Expression
mk239 1911 14.5x21.7cm
   
   
     

 

 

Joseph Mallord William Turner Sheila oil painting

Painting ID::  55081

X 
 

Joseph Mallord William Turner
Sheila
MK239 1912 Oil on canvas 108.8x108.8cm
   
   
     

 

 

Joseph Mallord William Turner Number 15 oil painting

Painting ID::  55082

X 
 

Joseph Mallord William Turner
Number 15
mk239 1912 Watercolour 31.3x47.6cm
   
   
     

 

 

Joseph Mallord William Turner Nubmer 26 oil painting

Painting ID::  55083

X 
 

Joseph Mallord William Turner
Nubmer 26
mk239 1912 oil on canvas 97x107.5cm
   
   
     

 

 

Joseph Mallord William Turner Love-s Garden oil painting

Painting ID::  55084

X 
 

Joseph Mallord William Turner
Love-s Garden
mk239 1912 Oil on canvas
   
   
     

 

 

Joseph Mallord William Turner Nubmer 28 oil painting

Painting ID::  55085

X 
 

Joseph Mallord William Turner
Nubmer 28
mk239 1912 Oil on canvas 39x56.1cm
   
   
     

 

 

Joseph Mallord William Turner The picture with White line oil painting

Painting ID::  55086

X 
 

Joseph Mallord William Turner
The picture with White line
mk239 1913 Watercolour
   
   
     

 

 

Joseph Mallord William Turner Study of white line oil painting

Painting ID::  55087

X 
 

Joseph Mallord William Turner
Study of white line
mk239 Oil on canvas 1913
   
   
     

 

 

Joseph Mallord William Turner Nubmer 30 oil painting

Painting ID::  55088

X 
 

Joseph Mallord William Turner
Nubmer 30
mk239 1913 Oil on canvas 111x111cm
   
   
     

 

 

Joseph Mallord William Turner cloudburst oil painting

Painting ID::  55089

X 
 

Joseph Mallord William Turner
cloudburst
mk239 1913 Oil on canvas 111x111cm
   
   
     

 

 

Joseph Mallord William Turner Study oil painting

Painting ID::  55090

X 
 

Joseph Mallord William Turner
Study
mk239 1913 Watercolour 25.8x34.5cm
   
   
     

 

 

Joseph Mallord William Turner Dreaw with white line oil painting

Painting ID::  55091

X 
 

Joseph Mallord William Turner
Dreaw with white line
mk239 1913 25.8x34.5cm
   
   
     

 

 

Joseph Mallord William Turner View and edge oil painting

Painting ID::  55092

X 
 

Joseph Mallord William Turner
View and edge
mk239 1913 Watercolour 27.6x38.1cm
   
   
     

 

 

Joseph Mallord William Turner First draft oil painting

Painting ID::  55093

X 
 

Joseph Mallord William Turner
First draft
mk239 1913 Watercolour 27.6x38.1cm
   
   
     

 

 

Joseph Mallord William Turner Abstract oil painting

Painting ID::  55094

X 
 

Joseph Mallord William Turner
Abstract
mk239 1913 Oil on canvas
   
   
     

 

 

Joseph Mallord William Turner Flood oil painting

Painting ID::  55095

X 
 

Joseph Mallord William Turner
Flood
mk239 1914 Oil on canvas 108.5x140cm
   
   
     

 

 

Joseph Mallord William Turner Number 199 oil painting

Painting ID::  55096

X 
 

Joseph Mallord William Turner
Number 199
mk239 1914 Oil on canvas 162.6x122.7cm
   
   
     

 

 

Joseph Mallord William Turner Drea oil painting

Painting ID::  55097

X 
 

Joseph Mallord William Turner
Drea
mk239 1914 Oil on canvas 120x111cm
   
   
     

 

       Prev    14  15  16  17  18  19  20  21  22  23     Next

 

Joseph Mallord William Turner
English Romantic Painter, 1775-1851 Joseph Mallord William Turner (23 April 1775 ?C 19 December 1851) was an English Romantic landscape painter, watercolourist and printmaker, whose style is said to have laid the foundation for Impressionism. Although Turner was considered a controversial figure in his day, he is now regarded as the artist who elevated landscape painting to an eminence rivalling history painting. Turner's talent was recognised early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterised by a chromatic palette and broadly applied atmospheric washes of paint. According to David Piper's The Illustrated History of Art, his later pictures were called "fantastic puzzles." However, Turner was still recognised as an artistic genius: the influential English art critic John Ruskin described Turner as the artist who could most "stirringly and truthfully measure the moods of Nature." (Piper 321) Suitable vehicles for Turner's imagination were to be found in the subjects of shipwrecks, fires (such as the burning of Parliament in 1834, an event which Turner rushed to witness first-hand, and which he transcribed in a series of watercolour sketches), natural catastrophes, and natural phenomena such as sunlight, storm, rain, and fog. He was fascinated by the violent power of the sea, as seen in Dawn after the Wreck (1840) and The Slave Ship (1840). Turner placed human beings in many of his paintings to indicate his affection for humanity on the one hand (note the frequent scenes of people drinking and merry-making or working in the foreground), but its vulnerability and vulgarity amid the 'sublime' nature of the world on the other hand. 'Sublime' here means awe-inspiring, savage grandeur, a natural world unmastered by man, evidence of the power of God - a theme that artists and poets were exploring in this period. The significance of light was to Turner the emanation of God's spirit and this was why he refined the subject matter of his later paintings by leaving out solid objects and detail, concentrating on the play of light on water, the radiance of skies and fires. Although these late paintings appear to be 'impressionistic' and therefore a forerunner of the French school, Turner was striving for expression of spirituality in the world, rather than responding primarily to optical phenomena. Rain, Steam and Speed - The Great Western Railway painted (1844).His early works, such as Tintern Abbey (1795), stayed true to the traditions of English landscape. However, in Hannibal Crossing the Alps (1812), an emphasis on the destructive power of nature had already come into play. His distinctive style of painting, in which he used watercolour technique with oil paints, created lightness, fluency, and ephemeral atmospheric effects. (Piper 321) One popular story about Turner, though it likely has little basis in reality, states that he even had himself "tied to the mast of a ship in order to experience the drama" of the elements during a storm at sea. In his later years he used oils ever more transparently, and turned to an evocation of almost pure light by use of shimmering colour. A prime example of his mature style can be seen in Rain, Steam and Speed - The Great Western Railway, where the objects are barely recognizable. The intensity of hue and interest in evanescent light not only placed Turner's work in the vanguard of English painting, but later exerted an influence upon art in France, as well; the Impressionists, particularly Claude Monet, carefully studied his techniques.