Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840 by J. M. W. Turner
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The effect of ageing gives one painting the charm of authentic and noble appearance. Such a art reproduction can add to any interior a unique look and a style.
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See examples of art reproductions aged in our studio.
The Wrath of Achilles, 1847
Adoration of the Child, c.1620
Gerrit van Honthorst
Sir Edwin Henry Landseer
Winter Landscape with Skaters near Dordrecht, undated
Jan van Goyen
Winter Landscape with Skaters near a Castle, undated
Frederik Marinus Kruseman
A Winter Landscape with Skaters on a Frozen River, 1867
Frederik Marinus Kruseman
View of the Merwede off Dordrecht, c.1660
Jan van Goyen
Painting Title:Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840
Artist:Joseph Mallord William Turner (1775-1851)
Boston Museum of Fine Arts Massachusetts USA
Original Size:90.8 x 122.6 cm
Painting Reproduction completely hand-painted with oil on blank linen canvas.
Creation Time:Your J. M. W. Turner Hand-Painted Art Reproduction must not be rushed as it need time for reaching the high quality and precision and also for getting dry. Depending of the complexity and the details of the painting, we need of several weeks for creation of the painting.
Shipping:We not frame oil painting reproductions. The Hand-Painted Art Reproduction is expensive product and the risk of damages during transport of stretched on a frame painting is too high. "Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On)" by Turner is unframed and will be shipped rolled up in postal tube.
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We create our paintings only with museum quality. Our academy educated European painters never allow compromise with the quality and the details. TOPofART not work with Far East wholesalers with poor quality.
The critics were, not altogether surprisingly, over whelmed by the picture's extravagance. The young Thackeray, in "A Pictorial Rhapsody by Michael Angelo Titmarsh" in Fraser's Magazine, June 1840, wrote that it is the most tremendous piece of color that ever was seen ... Is the picture sublime or ridiculous? Indeed I don't know which. Rocks of gamboge are marked down upon the canvass; flakes of white laid on with a trowel; Bladders of vermilion madly spirited here and there... The sun glows down upon a horrible sea of emerald and purple... If Wilberforce's statue downstairs were to be confronted with this picture, the stony old gentleman would spring off his chair and fly away in terror! The Art Union for 15 May, after observing that even in his wildest caprices there is so much evidence of genius of the very highest order, exclaimed "Who will not grieve at the talent wasted upon the gross outrage on nature" in this picture, the leading object in which is a long black leg, surrounded by a shoal of rainbow-hued "John Dorys", seen more clearly through the ocean surface than flies in amber. For the Athenaeum, 16 May, it was a passionate extravagance of marigold sky, and pomegranate-colored sea, and fish dressed as gay as garden flowers in pink and green, with one shapeless dusky-brown leg thrown up from this parti-colored chaos to keep the promise of the title. Today, on the other hand, one revels in the bravura handling and richness of color.
In 1844 the picture was given to Ruskin as a New Year's present by his father but after some years he found the subject 'too painful to live with' and sold it; bought in at Christie's in 1869 it was sold in America in 1872. Meanwhile, in the first volume of Modern Painters, 1843, Ruskin had written, 'But, beyond dispute, the noblest sea that Turner has painted, and, if so, the noblest certainly ever painted by man, is that of the Slave Ship... Purple and blue, the lurid shadows of the hollow breakers are cast upon the mist of night, which gathers cold and low, advancing like the shadow of death upon the guilty ship as it labors amidst the lightning of the sea, its thin masts written upon the sky in lines of blood, girded with condemnation in that fearful hue which signs the sky with horror, and mixes its flaming flood with the sunlight, and, cast far along the desolate heave of the sepulchral waves, incarnadines the multitudinous sea. I believe, if I were reduced to rest Turner's immortality upon any single work, I should choose this. Its daring conception, ideal in the highest sense of the word, is based on the purest truth, and wrought out with the concentrated knowledge of a life... and the whole picture dedicated to the most sublime of subjects and impressions (completing thus the perfect system of all truth, which we have shown to be formed by Turner's works) - the power, majesty, and death-fulness of the open, deep, illimitable sea!