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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 The Thames above Waterloo Bridge c. 1830(1830)
Medium oil on canvas
Dimensions Height: 905 cm (356.3 in). Width: 121 cm (47.6 in).
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Joseph Mallord William Turner London from Greenwich Park 1809(1809)
Medium Oil on canvas
Dimensions Height: 902 cm (355.1 in). Width: 120 cm (47.2 in).
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Joseph Mallord William Turner Death on a pale horse c. 1825(1825)
Medium oil on canvas
Dimensions Height: 597 cm (235 in). Width: 756 cm (297.6 in).
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Joseph Mallord William Turner The Ponte Delle Torri, Spoleto c. 1840(1840)
Medium oil on canvas
Dimensions Height: 914 cm (359.8 in). Width: 1,219 cm (479.9 in).
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Joseph Mallord William Turner Fishermen at Sea 1796(1796)
Medium oil on canvas
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Joseph Mallord William Turner Leuchtraketen bei hohem Seegang 1840(1840)
Medium oil on canvas
Dimensions 91,5 x 122,7 cm
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Joseph Mallord William Turner Das Forum Romanum, fur Mr. Soanes Museum 1826(1826)
Medium oil on canvas
Dimensions 145,5 x 237,5 cm
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Joseph Mallord William Turner Union of the Thames and Isis oil on canvas
Dimensions Height: 908 cm (357.5 in). Width: 1,213 cm (477.6 in).
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Joseph Mallord William Turner The Bay of Baiae, with Apollo and the Sibyl Oil on canvas
Dimensions Height: 1,454 cm (572.4 in). Width: 2,375 cm (935 in).
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Joseph Mallord William Turner Musikgesellschaft, Petworth c. 1835
Medium oil on canvas
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Joseph Mallord William Turner Walton Reach c. 1807(1807)
Medium Oil on canvas
Dimensions 37 x 73,5 cm
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Joseph Mallord William Turner Haus am Flub mit Baumen und Schafen c. 1807(1807)
Medium oil on canvas
Dimensions 96,5 x 114 cm
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Joseph Mallord William Turner Der Park Petworth: Im Hintergrund die Kirche von Tillington c. 1830(1830)
Medium Oil on canvas
Dimensions 63,5 x 139 cm
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Joseph Mallord William Turner Die Chain-Pier von Brighton c. 1828(1828)
Medium oil on canvas
Dimensions 71 x 136,5 cm
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Joseph Mallord William Turner Fire on the Sea c. 1834(1834)
Medium oil on canvas
Dimensions 171,5 x 220 cm
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Joseph Mallord William Turner Ein gestrandetes Schiff c. 1828(1828)
Medium Oil on canvas
Dimensions 70 x 136 cm
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Joseph Mallord William Turner The Dogano, San Giorgio, Citella, from the Steps of the Europa oil on canvas
Dimensions Height: 616 cm (242.5 in). Width: 927 cm (365 in).
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Joseph Mallord William Turner Trees beside the River, with Bridge in the Middle Distance c. 1806(1806)
Medium oil on canvas
Dimensions Height: 879 cm (346.1 in). Width: 1,206 cm (474.8 in).
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Joseph Mallord William Turner Venedig 2nd quarter of 19th century
Medium oil on canvas
Dimensions 91 x 122 cm
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Joseph Mallord William Turner Fishermen Cleaning and Selling Fish 1807(1807)
Medium oil on canvas
Dimensions 134,5 x 179 cm
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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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