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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 Arrow oil painting

Painting ID::  55220

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Joseph Mallord William Turner
Arrow
mk239 1943 Oil on canvas 42x57cm
   
   
     

 

 

Joseph Mallord William Turner over backen oil painting

Painting ID::  56675

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Joseph Mallord William Turner
over backen
mk248 detta devonsbirelandskap ar sa inspirerat av claude lorrains landskapsmakeri, att den engelska landsbygden kika garna kunnat vara italin, turner larde sig teckna ocb farglagga topogragiska bilder i mitten av 1790-talet. da ban ocb girtin bada var anstallda av tbmas monro.
   
   
     

 

 

Joseph Mallord William Turner Slave ship oil painting

Painting ID::  56926

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Joseph Mallord William Turner
Slave ship
mk250 Year in 1840. Cloth on canvas, 90.7 x 122.7 cm. Boston Museum of Art.
   
   
     

 

 

Joseph Mallord William Turner Landscape oil painting

Painting ID::  57303

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Joseph Mallord William Turner
Landscape
mk255 for in 1835. 0.94 x 1.24 meters canvas. Paris, the Louvre
   
   
     

 

 

Joseph Mallord William Turner The fighting Temeraire tugged to her last berth to be broken up, oil painting

Painting ID::  61215

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Joseph Mallord William Turner
The fighting Temeraire tugged to her last berth to be broken up,
The fighting Temeraire tugged to her last berth to be broken up, painted 1839.
   
   
     

 

 

Joseph Mallord William Turner The shipwreck of the Minotaur, oil painting

Painting ID::  61216

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Joseph Mallord William Turner
The shipwreck of the Minotaur,
The shipwreck of the Minotaur, oil on canvas.
   
   
     

 

 

Joseph Mallord William Turner Rain, oil painting

Painting ID::  61218

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Joseph Mallord William Turner
Rain,
Rain, Steam and Speed - The Great Western Railway painted (1844).
   
   
     

 

 

Joseph Mallord William Turner Chichester Canal vivid colours may have been influenced by the eruption of Mount Tambora in 1815. oil painting

Painting ID::  61219

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Joseph Mallord William Turner
Chichester Canal vivid colours may have been influenced by the eruption of Mount Tambora in 1815.
Chichester Canal's vivid colours may have been influenced by the eruption of Mount Tambora in 1815.
   
   
     

 

 

Joseph Mallord William Turner Calais Pier oil painting

Painting ID::  61220

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Joseph Mallord William Turner
Calais Pier
J.M.W. Turner, Calais Pier
   
   
     

 

 

Joseph Mallord William Turner Turner 1813 watercolour, Ivy Bridge oil painting

Painting ID::  61221

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Joseph Mallord William Turner
Turner 1813 watercolour, Ivy Bridge
Turner's 1813 watercolour, Ivy Bridge
   
   
     

 

 

Joseph Mallord William Turner Frosty Morning oil painting

Painting ID::  62552

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Joseph Mallord William Turner
Frosty Morning
1813 Oil on canvas, 114 x 175 cm Tate Gallery, London This Yorkshire scene has an air of numbing chill, with rime glistening on earth and wild plants. Turner's English subjects still looked to the Dutch painter Aelbert Cuyp (1620-1691), but he was demonstrating his own contribution to this tradition and the benefits of study direct from nature. Author: TURNER, Joseph Mallord William Title: Frosty Morning Form: painting , 1801-1850 , English , landscape
   
   
     

 

 

Joseph Mallord William Turner Die Teufelsbrocke St. Gotthard oil painting

Painting ID::  66583

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Joseph Mallord William Turner
Die Teufelsbrocke St. Gotthard
c. 1803-1804 76,8 x 62,8 cm
   
   
     

 

 

Joseph Mallord William Turner Licht und Farbe: Der Morgen nach der Sintflut: Moses schreibt das Buch der Genesis oil painting

Painting ID::  66586

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Joseph Mallord William Turner
Licht und Farbe: Der Morgen nach der Sintflut: Moses schreibt das Buch der Genesis
1843 78,7 ?? 78,7 cm
   
   
     

 

 

Joseph Mallord William Turner Joseph Mallord William Turner, selfportrait. oil painting

Painting ID::  66587

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Joseph Mallord William Turner
Joseph Mallord William Turner, selfportrait.
Oil on canvas 1798 58 ?? 72,5 cm
   
   
     

 

 

Joseph Mallord William Turner Crossing the Brook oil painting

Painting ID::  68562

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Joseph Mallord William Turner
Crossing the Brook
Crossing the Brook by J. M. W. Turner, 1815, oil on canvas, 193 ?? 165 cm. Currently housed in the Tate Gallery.
   
   
     

 

 

Joseph Mallord William Turner Ancient Italy oil painting

Painting ID::  70120

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Joseph Mallord William Turner
Ancient Italy
Description Turner Ovid Banished from Rome.jpg Ancient Italy - Ovid Banished from Rome
   
   
     

 

 

Joseph Mallord William Turner Landschaft mit dem Garten des Hesperides oil painting

Painting ID::  71442

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Joseph Mallord William Turner
Landschaft mit dem Garten des Hesperides
Medium Oil on canvas Dimensions 155 x 218.5 cm
   
   
     

 

 

Joseph Mallord William Turner Crossing the Brook by J. M. W. Turner oil painting

Painting ID::  71868

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Joseph Mallord William Turner
Crossing the Brook by J. M. W. Turner
Crossing the Brook by J. M. W. Turner, 1815, oil on canvas, 193 x 165 cm. Currently housed in the Tate Gallery.
   
   
     

 

 

Joseph Mallord William Turner Shade and Darkness oil painting

Painting ID::  71906

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Joseph Mallord William Turner
Shade and Darkness
Shade and Darkness - the Evening of the Deluge exhibited 1843 Oil on canvas, 787 x 781 mm frame: 1035 x 1035 x 115 mm, Stolen on July 28, 1994 from Kunsthalle Schirn, Frankfurt am Main
   
   
     

 

 

Joseph Mallord William Turner Crossing the Brook by oil painting

Painting ID::  73150

X 
 

Joseph Mallord William Turner
Crossing the Brook by
1815, oil on canvas, 193 X 165 cm. cyf
   
   
     

 

       Prev    21  22  23  24  25  26  27  28  29  30     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.