Joseph Mallord William Turner and artworks E-Book

Eric Shanes

• Herausgeber: Parkstone International
• Sprache: Englisch
• Veröffentlichungsjahr: 2023

Seitenzahl: 102

Beschreibung

At fifteen, Turner was already exhibiting View of Lambeth. He soon acquired the reputation of an immensely clever watercolourist. A disciple of Girtin and Cozens, he showed in his choice and presentation of theme a picturesque imagination which seemed to mark him out for a brilliant career as an illustrator. He travelled, first in his native land and then on several occasions in France, the Rhine Valley, Switzerland and Italy. He soon began to look beyond illustration. However, even in works in which we are tempted to see only picturesque imagination, there appears his dominant and guiding ideal of lyric landscape. His choice of a single master from the past is an eloquent witness for he studied profoundly such canvases of Claude as he could find in England, copying and imitating them with a marvellous degree of perfection. His cult for the great painter never failed. He desired his Sun Rising through Vapour and Dido Building Carthage to be placed in the National Gallery side by side with two of Claude’s masterpieces. And, there, we may still see them and judge how legitimate was this proud and splendid homage. It was only in 1819 that Turner went to Italy, to go again in 1829 and 1840. Certainly Turner experienced emotions and found subjects for reverie which he later translated in terms of his own genius into symphonies of light and colour. Ardour is tempered with melancholy, as shadow strives with light. Melancholy, even as it appears in the enigmatic and profound creation of Albrecht Dürer, finds no home in Turner’s protean fairyland – what place could it have in a cosmic dream? Humanity does not appear there, except perhaps as stage characters at whom we hardly glance. Turner’s pictures fascinate us and yet we think of nothing precise, nothing human, only unforgettable colours and phantoms that lay hold on our imaginations. Humanity really only inspires him when linked with the idea of death – a strange death, more a lyrical dissolution – like the finale of an opera.

Leseprobe

Eric Shanes

Joseph Mallord William

T U R N E R

AND ARTWORKS

© 2023, Confidential Concepts, Worldwide, USA

© 2023, Parkstone Press USA, New York

© Image-Barwww.image-bar.com

CREDITS

Tate Britain

British Museum, London

Royal Academy of Arts, London

Victoria and Albert Museum, London

Fitzwilliam Museum, Cambridge, UK

Lady Lever Art Gallery, Port Sunlight, UK

University of Reading, Reading, UK

National Portrait Gallery, UK

Cecil Higgins Art Gallery, Bedford

Indianapolis Museum of Art

All rights reserved. No part of this may be reproduced or adapted without the permission of the copyright holder, throughout the world.

Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.

ISBN: 978-1-78160-829-6

Contents

Biography

List of Illustrations

A

A Storm (Shipwreck), 1823

A Town on a River at Sunset, 1833

Abergavenny Bridge, Monmouthshire, Clearing up after a Showery Day, 1799

Alnwick Castle, Northumberland, 1828

Ancient Rome: Agrippina Landing with the Ashes of Germanicus The Triumphal Bridge and Palace of the Caesars Restored, RA 1839

B

Bolton Abbey, Yorkshire, 1809

Brinkburn Priory, Northumberland, 1830

C

Caernarvon Castle, North Wales, RA 1800

Calais Pier, with French Fishermen Preparing for Sea: an English Packet Arriving, RA 1803

Caley Hall, 1818

Clyde’s Falls,c. 1845

Colour Beginning, 1819

Constance, 1842

Coriskin Lake, c. 1832

Crook of Lune, Looking Towards Hornby Castle, c. 1817

Crossing the Brook, 1815

D

Dido Building Carthage; or, the Rise of the Carthaginian Empire, RA 1815

Dolbadern Castle, North Wales, 1800

Dort, or Dordrecht, The Dort Packet-Boat from Rotterdam Becalmed, RA 1818

Dover Castle, 1822

Dutch Boats in a Gale: Fishermen Endeavouring to Put Their Fish on Board (‘The Bridgewater Seapiece’), RA 1801

E

England: Richmond Hill on the Prince Regent’s Birthday, R.A.1819

F

First-Rate, Taking in Stores, 1818

Fishermen at Sea, RA 1796

Flint Castle, North Wales, c. 1835

Folly Bridge and Bacon’s Tower, Oxford, 1787

Forum Romanum, for Mr Soane’s Museum, RA 1826

Frontispiece of ‘Liber Studiorum’, 1812

G

Grenoble Bridge, 1824

H

Harewood House from the South-East, 1798

High Street, Oxford, 1803

I

Interior of King John’s Palace, Eltham, c. 1791

Interior of Salisbury Cathedral, Looking Towards the North Transept, c. 1802-05

K

Kilgarren Castle, Pembrokeshire, 1828

L

Lake Lucerne: The Bay of Uri from above Brunnen, 1842

Llandaff Cathedral, South Wales, RA 1796

Loss of an East Indiaman, c. 1818

M

Marksburg, 1817

Marxbourg and Brugberg on the Rhine, 1820

Melrose Abbey, 1822

Mer de Glace, in the Valley of Chamouni, Switzerland, c. 1814

Messieurs les Voyageurs on Their Return from Italy (par la diligence) in a Snow Drift on Mount Tarrar – 22nd of January 1829, RA 1829

Modern Italy: the Pifferaris, RA 1838

More Park, Near Watford, on the Colne, 1822

Mortlake Terrace, the Seat of William Moffatt, Esq. Summer’s Evening, RA 1827

Mosel Bridge at Coblenz, 1817

Mount Vesuvius in Eruption, 1817

Mouth of the Seine, Quille-Boeuf, RA 1833

Music, 1835

N

Norham Castle on the Tweed, 1816

Northampton, Northamptonshire, 1830-31

O

Oberwesel,1840

P

Passage of Mont Cenis, 1820

Peace – Burial at Sea, 1842

Petworth Park, c. 1828-30

Petworth Park, with Lord Egremont and His Dogs; Sample Study, c. 1828

Pope’s Villa at Twickenham, 1808

Portsmouth, c. 1825

Prudhoe Castle, Northumberland, c. 1825

R

Rain, Steam and Speed – the Great Western Railway, RA 1844

Richmond Hill, c. 1825

Rise of the River Stour at Stourhead, 1824

Rome, From the Vatican Raffalle, Accompanied by La Fornarina, Preparing His Pictures for the Decoration of the Loggia, RA 1820

Roslin Castle, 1823

Rye, Sussex, c. 1823

S

Saint Giorgio Maggiore: Early Morning, 1819

Scène in Val d’Aoste, c. 1836

Scene on the Loire (near the Coteaux de Mauves), c. 1828-30

Scio (Fontana de Melek, Mehmet Pasha),c. 1832

Self-Portrait, 1798

Self-Portrait, c. 1798

Slavers Throwing Overboard the Dead and Dying – Typhoon Coming on, RA 1840

Snow Storm – Steam-Boat off a Harbour’s Mouth Making Signals in Shallow Water, and Going by the Lead, RA 1842

Snow Storm, Avalanche and Inundation – a Scene in the Upper Part of Val d’Aouste, Piedmont, RA 1837

Snow Storm: Hannibal and His Army Crossing the Alps, RA 1812

South View from the Cloisters, Salisbury Cathedral, c. 1802

St Anselm’s Chapel, with part of Thomas-à-Becket’s Crown Canterbury Cathedral, RA 1794

Sun Rising Through Vapour; Fishermen Cleaning and Selling Fish, RA 1807

Sunshine on the Tamar, 1800

T

Temple of Minerva Sunias, Cape Colonna, 1834

The Archbishop’s Palace, Lambeth, RA 1790

The Artist and His Admirers, c. 1827

The Battle of Trafalgar, 1822-1824

The Bay of Baiae: Apollo and the Sibyl, RA 1823

The Bell Rock Lighthouse, 1819

The Blue Rigi: Lake Lucerne, Sunrise, 1842

The Burning of the Houses of Parliament, B.I. 1835

The Decline of the Carthaginian Empire – Rome being determined on the Overthrow of her Hated Rival, demanded from her such Terms as might either force her into War, or ruin her by Compliance: the Enervated Carthaginians, in their Anxiety for Peace, consented to give up even their Arms or their Children, RA 1817

The Departure of the Fleet,RA 1850

The Dormitory and Transept of Fountains Abbey – Evening, 1798

The Fall of an Avalanche in the Grisons, 1810

The Field of Waterloo, R.A.1818

The Fighting ‘Téméraire’ Tugged to Her Last Berth to be Broken Up, 1838, RA 1839

The Golden Bough, RA 1834

The Great Fall of the Reichenbach, in the Valley of Hasle, Switzerland, 1804

The Lake of Geneva with the Dent d’Oche: Tending the Vines, 1841

The Lauerzersee, with the Mythens,c. 1848

The Pantheon, the Morning after the Fire, RA 1792

The Pass of Faido,1843

The Passage of Mount St Gothard, Taken from the Centre of the Teufels Broch (Devil’s Bridge), Switzerland

The Seat of William Moffatt, Esq. at Mortlake, Early (Summer’s) Morning, RA 1826

The Shipwreck, 1805

The Temple of Jupiter Panellenius Restored, RA 1816

The Thames near Walton Bridges, c. 1805

The Wreck of a Transport Ship, c. 1810

Tom Tower, Christ Church, Oxford, 1792

Trancept of Ewenny Priory, Glamorganshire, RA 1797

Turner on Varnishing Day,William Parrot, c. 1846

U

Ulysses Deriding Polyphemus - Homer’s Odyssey, RA 1829

V

Valley of the Brook Kedron, 1834

Venice, from the Porch of Madonna Della Salute, RA 1835

Venice: A Storm in the Piazzetta, c. 1840

Venice: the Grand Canal Looking Towards the Dogana, c. 1840

View of Salisbury Cathedral from the Bishop’s Garden, 1798

View on a Cross-Canal near the Arsenal, 1840

W

Weathercote Cave when Half Filled with Water, 1818

West Cowes, Isle of Wight, 1828

Whalers,RA 1845

Wolverhampton, Staffordshire, RA 1796

Y

Yacht Approaching the Coast,c. 1850

Yarmouth, 1827

Foreword

“J.M.W. Turner is the only man who has ever given an entire transcript of the whole system of nature, and is, in this point of view, the only perfect landscape painter whom the world has ever seen... We have had, living with us, and painting for us, the greatest painter of all time; a man with whose supremacy of power no intellect of past ages can be put in comparison for a moment.”

Self-Portrait, c. 1798

Oil on canvas, 74.5 x 58.5 cm. Turner Bequest, Tate Britain, London

Biography

1775

Birth of Joseph Mallord William Turner in London on 23 April.

1787

Makes first signed and dated watercolours.

1789

Probably begins studying with Thomas Malton, Jr and also admitted as student to Royal Academy Schools.

1790

Exhibits first work at the Royal Academy.

1791

Tours the West Country.

1792

Tours south and central Wales.

1793

Awarded the ‘Greater Silver Pallet’ for landscape drawing by the Royal Society of Arts.

1794

Tours Midlands and north Wales.

1795

Tours southern England and south Wales.

1796

Exhibits first oil painting at the Royal Academy.

1797

Tours north of England and Lake District.

1798

Tours north Wales.

1799

Elected an Associate Royal Academician. Visits West Country, Lancashire and north Wales.

1801

Tours Scotland.

1802

Elected Royal Academician. Tours Switzerland.

1804

Death of mother after a long illness.

1805

Holds first exhibition in own gallery in London.

1807

Elected Royal Academy Professor of Perspective.

1808

Visits Cheshire and Wales. Probably pays first visit to Farnley Hall, home of Walter Fawkes.

1811

Delivers first course of perspective lectures at the Royal Academy. Tours West Country for material for the ‘Southern Coast’ series.

1812

First quotation from his own poem, ‘Fallacies of Hope’, in the Royal Academy catalogue.

1813

Completes Sandycombe Lodge in Twickenham. Revisits West Country.

1814

Again tours West Country.

1815

Tours Yorkshire.

1816

Tours Yorkshire to gain material for the ‘Richmondshire’ series.

1817

Tours Belgium, Germany and Holland.

1818

Visits Edinburgh.

1819

Walter Fawkes exhibits over sixty Turner watercolours in his London residence. Pays first visit to Italy, stays in Venice, Florence, Rome and Naples.

1821

Visits Paris and tours northern France.

1822

Visits Edinburgh for State Visit of King George IV.

1824

Tours south-east England, also the Meuse and Moselle rivers.

1825

Tours Holland, Germany and Belgium. Death of Walter Fawkes.

1826

Tours Germany, Brittany and the Loire.

1827

Stays at East Cowes castle, the home of the architect John Nash. Autumn, starts visiting Petworth regularly.

1828

Delivers last lectures as Royal Academy Professor of Perspective. Visits Italy a second time, stays principally in Rome.

1829

Exhibits seventy-nine ‘England and Wales’ series watercolours in London. Visits Paris, Normandy and Brittany. Death of father. Draws up first draft of will.

1830

Tours Midlands. Exhibits a watercolour for the last time at the Royal Academy.

1831

Tours Scotland. Revises will.

1832

Visits Paris, probably meets Delacroix.

1833

Exhibits 66 ‘England and Wales’ watercolours in London. Visits Vienna and Venice.

1835

Tours Denmark, Prussia, Saxony, Bohemia, the Rhineland and Holland.

1836

Tours France, Switzerland and the Val d’Aosta.

1837

Death of Lord Egremont. Resigns as Royal Academy Professor of Perspective.

1839

Tours the Meuse and Moselle rivers.

1840

Meets John Ruskin for the first time. Visits Venice.

1841

Tours Switzerland, and does so again in following three summers.

1845

Acts as temporary President of Royal Academy. Tours northern France in May; in the autumn Dieppe and Picardy, his last tour.

1846

Moves to Chelsea around this time.

1848-49

Growing infirmity. Revises will.

1850

Exhibits for the last time at the Royal Academy.

1851

Dies 19 December in Chelsea, London.

Folly Bridge and Bacon’s Tower, Oxford, 1787

Pen and ink with watercolour, 30.8 x 43.2 cm. Turner Bequest, Tate Britain, London. The work is a transcription of an image made for The Oxford Almanack by Michael Angelo Rooker

From darkness to light: perhaps no painter in the history of western art evolved over a greater visual span than Turner. If we compare one of his earliest exhibited masterworks, such as the fairly low-key St Anselm’s Chapel, with part of Thomas-à-Becket’s crown, Canterbury Cathedral of 1794, with a vividly bright picture dating from the 1840s, such as The Falls of the Clyde, it seems hard to credit that the two images stemmed from the same hand, so vastly do they differ in appearance. Yet this apparent disjunction can easily obscure the profound continuity that underpins Turner’s art, just as the dazzling colour, high tonality and loose forms of the late images can lead to the belief that the painter shared the aims of the French Impressionists or even that he wanted to be some kind of abstractionist, both of which notions are untrue. Instead, that continuity demonstrates how single-mindedly Turner pursued his early goals, and how magnificently he finally attained them. To trace those aims and their achievement by means of a selected number of works, as well as briefly to recount the artist’s life, is the underlying purpose of this book.