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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 London oil painting

Painting ID::  54857

X 
 

Joseph Mallord William Turner
London
mk238 1809 Oil on canvas 90x120cm
   
   
     

 

 

Joseph Mallord William Turner Landscape oil painting

Painting ID::  54858

X 
 

Joseph Mallord William Turner
Landscape
mk238 1812 Watercolour 13.9x21.9cm
   
   
     

 

 

Joseph Mallord William Turner Bridge oil painting

Painting ID::  54859

X 
 

Joseph Mallord William Turner
Bridge
mk238 1810 Oil on canvas 91.5x122cm
   
   
     

 

 

Joseph Mallord William Turner Warship oil painting

Painting ID::  54860

X 
 

Joseph Mallord William Turner
Warship
mk238 1809 Oil on canvas 91.4x124.5cm
   
   
     

 

 

Joseph Mallord William Turner Landscape oil painting

Painting ID::  54861

X 
 

Joseph Mallord William Turner
Landscape
mk238 1810 Oil on canvas 92x122cm
   
   
     

 

 

Joseph Mallord William Turner Meiyinsi oil painting

Painting ID::  54862

X 
 

Joseph Mallord William Turner
Meiyinsi
mk238 1817 Watercolour 21x34cm
   
   
     

 

 

Joseph Mallord William Turner Bridge oil painting

Painting ID::  54863

X 
 

Joseph Mallord William Turner
Bridge
mk238 1817 Watercolour 19.9x31.1cm
   
   
     

 

 

Joseph Mallord William Turner Bay oil painting

Painting ID::  54864

X 
 

Joseph Mallord William Turner
Bay
mk238 1813 Oil on canvas 24.5x30.5cm
   
   
     

 

 

Joseph Mallord William Turner Storm Wind oil painting

Painting ID::  54865

X 
 

Joseph Mallord William Turner
Storm Wind
mk238 1812 15.3x21.7cm
   
   
     

 

 

Joseph Mallord William Turner Quli and Cisi oil painting

Painting ID::  54866

X 
 

Joseph Mallord William Turner
Quli and Cisi
mk238 1811 Oil on canvas 190.5x160cm
   
   
     

 

 

Joseph Mallord William Turner Sikabolofu oil painting

Painting ID::  54867

X 
 

Joseph Mallord William Turner
Sikabolofu
mk238 1818 Watercolour 28.6x40.4cm
   
   
     

 

 

Joseph Mallord William Turner Augur oil painting

Painting ID::  54868

X 
 

Joseph Mallord William Turner
Augur
mk238 1814-1815 Oil on canvas 72x97cm
   
   
     

 

 

Joseph Mallord William Turner Dentist oil painting

Painting ID::  54869

X 
 

Joseph Mallord William Turner
Dentist
mk238 1808 Oil on canvas
   
   
     

 

 

Joseph Mallord William Turner Across the river oil painting

Painting ID::  54870

X 
 

Joseph Mallord William Turner
Across the river
mk238 1815 Oil on canvas 193x165cm
   
   
     

 

 

Joseph Mallord William Turner Volcano erupt oil painting

Painting ID::  54871

X 
 

Joseph Mallord William Turner
Volcano erupt
mk238 1817 Watercolour 28.6x39.7cm
   
   
     

 

 

Joseph Mallord William Turner Volcano erupt oil painting

Painting ID::  54872

X 
 

Joseph Mallord William Turner
Volcano erupt
mk238 1815 Oil on canvas 79.4x104.8cm
   
   
     

 

 

Joseph Mallord William Turner Interior oil painting

Painting ID::  54873

X 
 

Joseph Mallord William Turner
Interior
mk238 1810 watercolour 64x49cm
   
   
     

 

 

Joseph Mallord William Turner Bridge oil painting

Painting ID::  54874

X 
 

Joseph Mallord William Turner
Bridge
mk238 1806-1807 Watercolour 18.1x25.8cm
   
   
     

 

 

Joseph Mallord William Turner Lake oil painting

Painting ID::  54875

X 
 

Joseph Mallord William Turner
Lake
mk238 1819 Watercolour 22.4x29cm
   
   
     

 

 

Joseph Mallord William Turner Freezing Morning oil painting

Painting ID::  54876

X 
 

Joseph Mallord William Turner
Freezing Morning
mk238 1813 Oil on canvas 113.x6174.6cm
   
   
     

 

       Prev    4  5  6  7  8  9  10  11  12  13     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.