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Oil Paintings Come From United Kingdom
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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 Regatta Beating To Windward oil painting

Painting ID::  82652

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Joseph Mallord William Turner
Regatta Beating To Windward
Oil on canvas Dimensions 35 1/2 x 47 1/2 in. cyf
   
   
     

 

 

Joseph Mallord William Turner Boston in Lincolnshire oil painting

Painting ID::  84268

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Joseph Mallord William Turner
Boston in Lincolnshire
Date c.1833 Medium Oil on canvas Dimensions 28.8 x 42.3 cm (11.3 x 16.7 in) cjr
   
   
     

 

 

Joseph Mallord William Turner Naufragio oil painting

Painting ID::  85754

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Joseph Mallord William Turner
Naufragio
1805(1805) Medium Oil on canvas cyf
   
   
     

 

 

Joseph Mallord William Turner Quillebeuf, Mouth of the Seine oil painting

Painting ID::  86260

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Joseph Mallord William Turner
Quillebeuf, Mouth of the Seine
Date 1833(1833) English: Oil on canvas Dimensions 91,5 x 123,2 cm cjr
   
   
     

 

 

Joseph Mallord William Turner Castle von Kilgarran am Twyvey oil painting

Painting ID::  87196

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Joseph Mallord William Turner
Castle von Kilgarran am Twyvey
Date 1799(1799) Medium Oil on canvas Dimensions 92 x 122 cm cjr
   
   
     

 

 

Joseph Mallord William Turner Die funfte Plage von agypten oil painting

Painting ID::  87200

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Joseph Mallord William Turner
Die funfte Plage von agypten
Date 1800(1800) Medium Oil on canvas Dimensions 124 x 183 cm cjr
   
   
     

 

 

Joseph Mallord William Turner Canal Grande in Venedig oil painting

Painting ID::  87210

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Joseph Mallord William Turner
Canal Grande in Venedig
Date 1835(1835) Medium Oil on canvas Dimensions 90 x 120,3 cm cjr
   
   
     

 

 

Joseph Mallord William Turner Sommer-Hill bei Turnbridge, Wohnsitz des W.F. Woodgate oil painting

Painting ID::  87356

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Joseph Mallord William Turner
Sommer-Hill bei Turnbridge, Wohnsitz des W.F. Woodgate
Date 1811(1811) Medium Oil on canvas Dimensions 91,5 x 122,3 cm cjr
   
   
     

 

 

Joseph Mallord William Turner Jetzt fur den Maler, Passagiere gehen an Bord oil painting

Painting ID::  87575

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Joseph Mallord William Turner
Jetzt fur den Maler, Passagiere gehen an Bord
Date 1827(1827) Medium Oil on canvas Dimensions 170,2 x 235,5 cm cjr
   
   
     

 

 

Joseph Mallord William Turner Dogana und Santa Maria della Salute, Venedig oil painting

Painting ID::  87860

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Joseph Mallord William Turner
Dogana und Santa Maria della Salute, Venedig
Date 1843(1843) Medium Oil on canvas Dimensions Deutsch: 91,4 x 122 cm cjr
   
   
     

 

 

Joseph Mallord William Turner Der Genfer See von Montreux aus gesehen oil painting

Painting ID::  87917

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Joseph Mallord William Turner
Der Genfer See von Montreux aus gesehen
Date 1810(1810) Medium Oil on canvas Dimensions 105,4 x 165 cm cjr
   
   
     

 

 

Joseph Mallord William Turner Die Schlacht bei Trafalgar, von den Steuerbordbesanwanten der Victory aus gesehen oil painting

Painting ID::  87920

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Joseph Mallord William Turner
Die Schlacht bei Trafalgar, von den Steuerbordbesanwanten der Victory aus gesehen
Date 1806-1808 Medium Oil on canvas Dimensions Deutsch: 172,7 x 238,8 cm cjr
   
   
     

 

 

Joseph Mallord William Turner Schatten und Dunkelheit: Der Abend vor der Sintflut oil painting

Painting ID::  87988

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Joseph Mallord William Turner
Schatten und Dunkelheit: Der Abend vor der Sintflut
1843(1843) Medium Oil on canvas Dimensions 78,7 x 78 cm cjr
   
   
     

 

 

Joseph Mallord William Turner Fischen am Blythe-sand, die Flut setzt ein oil painting

Painting ID::  88015

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Joseph Mallord William Turner
Fischen am Blythe-sand, die Flut setzt ein
1809(1809) Medium Oil on canvas Dimensions 89 x 119,5 cm cjr
   
   
     

 

 

Joseph Mallord William Turner Rom, vom Vatikan aus gesehen oil painting

Painting ID::  88100

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Joseph Mallord William Turner
Rom, vom Vatikan aus gesehen
1820(1820) Medium Oil on canvas Dimensions Deutsch: 177 x 335,5 cm cjr
   
   
     

 

 

Joseph Mallord William Turner Boston in Lincolnshire oil painting

Painting ID::  88154

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Joseph Mallord William Turner
Boston in Lincolnshire
1833 Medium Oil on canvas Dimensions 28.8 x 42.3 cm (11.3 x 16.7 in) cyf
   
   
     

 

 

Joseph Mallord William Turner Morgen in den Corniston Fells, Cumberland oil painting

Painting ID::  88165

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Joseph Mallord William Turner
Morgen in den Corniston Fells, Cumberland
1799(1799) Medium Oil on canvas Dimensions 123 x 89,7 cm cjr
   
   
     

 

 

Joseph Mallord William Turner Ansicht von Orvieto oil painting

Painting ID::  88174

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Joseph Mallord William Turner
Ansicht von Orvieto
1828-1829 Medium Oil on canvas Dimensions 91,5 x 123 cm cjr
   
   
     

 

 

Joseph Mallord William Turner Mortlake Terrace, der Wohnsitz von W. Sliam Moffat, Sommerarbend oil painting

Painting ID::  88994

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Joseph Mallord William Turner
Mortlake Terrace, der Wohnsitz von W. Sliam Moffat, Sommerarbend
1827(1827) Medium oil on canvas Dimensions 92 x 122 cm cjr
   
   
     

 

 

Joseph Mallord William Turner The Thames near Walton Bridges oil painting

Painting ID::  89139

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Joseph Mallord William Turner
The Thames near Walton Bridges
1805(1805) Medium oil on mahogany Dimensions Height: 371 cm (146.1 in). Width: 737 cm (290.2 in). cjr
   
   
     

 

       Prev    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.