Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840 by J. M. W. Turner
Actual Painted Size: $500.00 ...:
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The effects of ageing and antiqueness impart to a painting the charm of authenticity and nobility. Thus, a reproduction of a painting would impart unique style and appearance to any interior.
The process of making our painting reproductions look old and cracked is in absolute conformity with the technology of oil painting, and in no way does it damage the painting.
Please see some examples of art reproductions that have been made to look old in our studio.
The Absinthe Drinker, 1901
Mater Dolorosa, c.1470/75
Mater Dolorosa, undated
The Woman Taken in Adultery, c.1527/29
Battle of Grunwald, 1878
East Boothbay Harbor, Maine, 1904
Willard Leroy Metcalf
The Enveloping Mantle, 1920
Willard Leroy Metcalf
Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840
Boston Museum of Fine Arts Massachusetts USA
Original Size:90.8 x 122.6 cm
This painting reproduction will be completely painted by hand with oil paints on a blank linen canvas. We add additional 1.6" (4cm) of blank canvas above the offered size which will be used to stretch the canvas on a stretcher-bar.
The Time it Takes to be Created:To paint your J. M. W. Turner Hand-Painted Art Reproduction time is needed. The painting should not be made too hastily, nor should any deadlines be pursued. For the painting to acquire high quality and precision of detail, time is necessary. It also needs time to dry in order to be completely ready for shipping. Depending on the complexity, the level of detail, and the size of the painting, we'll need 4-5 weeks to make the painting.
Should a change of deadlines become necessary, or should your order arrive at a time when we are overloaded with work, then we will notify you by e-mail concerning how much time we would need to complete your painting reproduction.
Shipping:We do not frame our oil painting reproductions. Hand-Painted Art Reproduction is an expensive product, and the risks of damaging a painting stretched on a frame during transportation are too high. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On) by J. M. W. Turner is, therefore, not framed, and will be sent to you rolled up and packaged in a strong and secure postal tube.
You can check the price for shipping the order on the shopping cart screen.
The paintings we create are only of museum quality. Our academically trained artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.
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!