|
|
|
|
Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
|
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. |
|
|
|
|
|
|
Joseph Mallord William Turner Calais Pier,with French poissards preparing for sea:an English packet arriving (detail) (mk31) 1803
Oil on canvas
172x240cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner A coast scene with fisherman hauling a boat ashore (mk31) 1803-1804
Oil on canvas
91.4x122cm
The Iveagh Bequest,Kenwood.London
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner The Shipwreck (mk31) 1805
Oil on canvas
170.5x241.5cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Sun rising tyhrough vapour:Fishermen cleaning and selling fish (mk31) 1807
Oil on canvas
134.5x179cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner A country blacksmith disputing upon the price of iron,and the price charged to the butcher for shoeing his pony (mk310 Oil on fir-plank
55x78cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Grand Junction Canal at Southall Mill Windmill and Lock (mk31) 1810
Oil on canvas
92x122cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Bolton Abbey,Yorkshire (mk31) 1809
Watercolour
27.8x39.5cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Fishing upon Blythe-sand,tide setting in (mk31) 1809
Oil on canvas
89x119.5cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Crossing the brook (mk31) 1815
Oil on canvas
193x165cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Hastings:Deep-sea fishing (mk31) 1818
Watercolour
39.8x59.1cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Saltash,Cornwall (mk31) 1825
Watercolour
27x41cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Whiby,Yorkshire (mk31) 1825-1830
Watercolour
15.9x24.8cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Prudhoe Castle,Northumberland (mk31) 1826
Watercolour
29x41cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Windsor Castle,Berkshire (mk31) 1827-1829
Watercolour
29x43cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Shipping off East Cowes Headland (mk31) 1827
Oil on canvas
46x60cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Petworth Park.Tillington Church in the distance.Ca (mk31) Ca.1828
Oil on canvas
64.5x145.5cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Chichester Canal (mk31) 1828
Oil on canvas
121x90.5cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Music party in Petworth (mk31) 1835
Oil on canvas
121x90.5cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner Caernarvon Castle,Wales (mk31) 1833-1834
Watercolour
29x44cm
|
|
|
|
|
|
|
|
|
|
Joseph Mallord William Turner The passage of Mount St.Gothard,taken from the centre of the Teufels Broch Switzerland (mk31) 1804
Watercolour
98.5x68.5cm
|
|
|
|
|
|
|
|
| |
|
|
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.
|
|
|
|
|
|