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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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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 Fire at Sea oil on canvas, by the British artist J. M. W. Turner. 171.5 cm x 220.5 cm (67.52 in. x 86.81 in.).
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Joseph Mallord William Turner The Deluge The Deluge, oil painting in the Tate Gallery, London
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Joseph Mallord William Turner The Battle of Trafalgar by J. M. W. Turner The Battle of Trafalgar by J. M. W. Turner (oil on canvas, 1822-1824)
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Joseph Mallord William Turner The Fighting Temeraire tugged to her last Berth to be broken up 1838(1838)
Oil on canvas
91 X 122 cm (35.83 X 48.03 in)
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Joseph Mallord William Turner Deluge English: The Deluge, oil painting in the Tate Gallery, London
Date 1805
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Joseph Mallord William Turner Self-portrait 1798(1798)
Oil on canvas
74 ?? 58 cm (29.1 ?? 22.8 in)
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Joseph Mallord William Turner The Battle of Trafalgar The Battle of Trafalgar (1822).
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Joseph Mallord William Turner Fighting Temeraire Date 1838(1838)
Medium Oil on canvas
Dimensions 91 ?? 122 cm (35.83 ?? 48.03 in)
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Joseph Mallord William Turner Glaucus and Scylla '??Glaucus and Scylla??', 1841, oil on panel painting by Joseph Mallord William Turner, Kimbell Art Museum.
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Joseph Mallord William Turner Self portrait 1798(1798)
Medium Oil on canvas
Dimensions 74 ?? 58 cm (29.1 ?? 22.8 in)
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Joseph Mallord William Turner Self-portrait 1798(1798)
Oil on canvas
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Joseph Mallord William Turner Self portrait 1798(1798)
Medium Oil on canvas
Dimensions 58 x 72.5 cm (22.8 x 28.5 in)
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Joseph Mallord William Turner Buttermere Lake Buttermere Lake, with Park of Cromackwater, Cumberland, a Shower (painting - oil on canvas)
Date circa 1797-1798
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Joseph Mallord William Turner Dido Building Carthage aka The Rise of the Carthaginian Empire Dido Building Carthage aka The Rise of the Carthaginian Empire (painting - oil on canvas)
Date 1815(1815)
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Joseph Mallord William Turner Self portrait 1798(1798)
Medium Oil on canvas
Dimensions 72.5 x 58 cm (28.5 x 22.8 in)
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Joseph Mallord William Turner portrait 1798(1798)
Medium Oil on canvas
Dimensions 58 x 72.5 cm (22.8 x 28.5 in)
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Joseph Mallord William Turner Glaucus and Scylla 1841, oil on panel painting by Joseph Mallord William Turner, Kimbell Art Museum
Date 1841(1841)
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Joseph Mallord William Turner Buttermere Lake circa 1797-1798
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Joseph Mallord William Turner Rise of the Carthaginian Empire Date 1815
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Joseph Mallord William Turner Fishing Boats with Hucksters Bargaining for Fish Fishing Boats with Hucksters Bargaining for Fish (1837-1838) by JMW Turner, Oil on canvas, 174.5 x 224.9 cm, Art Institute of Chicago
Date 1837-1838
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Joseph Mallord William Turner
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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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