Joseph Mallord William Turner Painting Reproductions 4 of 14
1775-1851
English Romanticism Painter
Joseph Mallord William Turner (April 23, 1775 (exact date disputed) - December 19, 1851) was an English Romantic landscape painter, watercolourist and printmaker, whose style can be said to have laid the foundation for Impressionism.
Life and career
Turner was born in Covent Garden, London. His father, William, was a barber and wig maker. His mother, Mary Marshall, became increasingly mentally unstable, perhaps, in part, due to the early death of Turner's younger sister in 1783. She died in 1804, after having been committed in 1799 to a mental asylum.
Possibly due to the load placed on the family by these problems, the young Turner was sent in 1785 to stay with his uncle on his mother's side in Brentford, which was then a small town west of London on the banks of the River Thames. It was here that he first expressed an interest in painting. A year later he went to school in Margate in Kent to the east of London in the area of the Thames estuary. By this time he had created many drawings, which his father exhibited in his shop window.
He entered the Royal Academy of Art schools when he was only 16 years old, citation needed] and was accepted into the academy a year later. Sir Joshua Reynolds, president of the Royal Academy at the time, chaired the panel that admitted him. At first Turner showed a keen interest in architecture but was advised to keep to painting by the architect Thomas Hardwick (junior). A watercolour of Turner's was accepted for the Summer Exhibition of 1790 after only one year's study. He exhibited his first oil painting in 1796, and thereafter exhibited at the academy nearly every year for the rest of his life.
Although renowned for his oils, Turner is also one of the greatest masters of British watercolour landscape painting. He is commonly known as "the painter of light".
One of his most famous oil paintings is The fighting Temeraire tugged to her last berth to be broken up, painted in 1838, which hangs in the National Gallery, London. See also The Golden Bough.
Turner travelled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year. He also made many visits to Venice during his lifetime. On a visit to Lyme Regis, in Dorset, England, he painted a stormy scene (now in the Cincinnati Art Museum). Turner was also a frequent guest of Lord Egremont at Petworth House in West Sussex and painted scenes from the grounds of the house and of the Sussex countryside, including a view of the Chichester Canal that Egremont funded. Petworth House still displays a number of paintings.
As he grew older, Turner became more eccentric. He had few close friends except for his father, who lived with him for thirty years, eventually working as his studio assistant. His father's death in 1829 had a profound effect on him, and thereafter he was subject to bouts of depression. He never married, although he had two daughters by Sarah Danby, one born in 1801, the other in 1811.
He died in the house of his mistress Mrs Sophia Caroline Booth in Cheyne Walk, Chelsea on 19 December 1851. At his request he was buried in St Paul's Cathedral, where he lies next to Sir Joshua Reynolds. His last exhibition at the Royal Academy was in 1850.
Style
Turner's talent was recognized early in his life. He became a full art academician at the age of 29. Financial independence allowed Turner to innovate freely; his mature work is characterized 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 recognized as an artistic genius: influential English art critic John Ruskin described Turner as the artist who could most "stirringly and truthfully measure the moods of Nature."
Suitable vehicles for Turner's imagination were to be found in the subjects of shipwrecks, fires (see Burning of Parliament, an event which Turner rushed to witness first-hand, and transcribed in a series of watercolor sketches), natural catastrophes, and natural phenomena such as sunlight, storm, rain, and fog. Against such spectacular backdrops the human presence became all but insignificant. He was fascinated by the violent power of the sea, as seen in Dawn after the Wreck (1840) and The Slave Ship (1840).
His first works, such as Tintern Abbey (1795) and Venice: S. Giorgio Maggiore (1819), 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 watercolor technique with oil paints, created lightness, fluency, and ephemeral atmospheric effects.
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. In the modern art era, advocates of abstract art were also inspired by Turner.
It has been suggested that the high levels of ash in the atmosphere during the 1816 Year Without a Summer, which led to unusually spectacular sunsets during this period, were an inspiration for some of Turner's work.
John Ruskin says in his "Notes" on Turner in March 1878, that an early patron, Dr Thomas Monro, the Principal Physician of Bedlam, was a significant influence on Turner's style:
"His true master was Dr Monro; to the practical teaching of that first patron and the wise simplicity of method of watercolour study, in which he was disciplined by him and companioned by Giston, the healthy and constant development of the greater power is primarily to be attributed; the greatness of the power itself, it is impossible to over-estimate."
Legacy
Turner left a small fortune which he hoped would be used to support what he called "decayed artists". Part of the money went to the Royal Academy of Arts, which now does not use it for this purpose though occasionally it awards students the Turner Medal. His collection of finished paintings was bequeathed to the British nation, and he intended that a special gallery would be built to house them. This did not come to pass owing to a failure to agree on a site, and then to the parsimony of British governments. Twenty-two years after his death, the British Parliament passed an Act allowing his paintings to be lent to museums outside London, and so began the process of scattering the pictures which Turner had wanted to be kept together. In 1910 the main part of the Turner Bequest, which includes unfinished paintings and drawings, was rehoused in the Duveen Turner Wing at the Tate Gallery. In 1987 a new wing of the Tate, the Clore Gallery, was opened specifically to house the Turner bequest, though some of the most important paintings in it remain in the National Gallery in contravention of Turner's condition that the finished pictures be kept and shown together.
In 1974, the Turner Museum was founded in the USA by Douglass Montrose-Graem to house his collection of Turner prints.
A prestigious annual art award, the Turner Prize, created in 1984, was named in Turner's honour, but has become increasingly controversial, having promoted art which has no apparent connection with Turner's. Twenty years later the more modest Winsor & Newton Turner Watercolour Award was founded.
A major exhibition, "Turner's Britain", with material, (including The Fighting Temeraire) on loan from around the globe, was held at Birmingham Museum & Art Gallery from 7 November 2003 to 8 February 2004.
In 2005, Turner's The Fighting Temeraire was voted Britain's "greatest painting" in a public poll organized by the BBC.
In October 2005 Professor Harold Livermore, its owner for 60 years, gave Sandycombe Lodge, the villa at Twickenham which Turner designed and built for himself, to the Sandycombe Lodge Trust to be preserved as a monument to the artist. In 2006 he additionally gave some land to the Trust which had been part of Turner's domaine. The Friends of Turner's House were formed in 2004 to support it.
In April 2006, Christie's New York auctioned Giudecca, La Donna Della Salute and San Giorgio, a view of Venice exhibited at the Royal Academy in 1841, for US$35.8 million, setting a new record for a Turner. The New York Times stated that according to two sources who had requested anonymity the buyer was casino magnate Stephen Wynn.
In 2006, Turner's Glaucus and Scylla (1840) was returned by Kimbell Art Museum to the heirs of John and Anna Jaffe after a Holocaust Claim was made. The painting is scheduled to be sold by Christie's in April of 2007.
Life and career
Turner was born in Covent Garden, London. His father, William, was a barber and wig maker. His mother, Mary Marshall, became increasingly mentally unstable, perhaps, in part, due to the early death of Turner's younger sister in 1783. She died in 1804, after having been committed in 1799 to a mental asylum.
Possibly due to the load placed on the family by these problems, the young Turner was sent in 1785 to stay with his uncle on his mother's side in Brentford, which was then a small town west of London on the banks of the River Thames. It was here that he first expressed an interest in painting. A year later he went to school in Margate in Kent to the east of London in the area of the Thames estuary. By this time he had created many drawings, which his father exhibited in his shop window.
He entered the Royal Academy of Art schools when he was only 16 years old, citation needed] and was accepted into the academy a year later. Sir Joshua Reynolds, president of the Royal Academy at the time, chaired the panel that admitted him. At first Turner showed a keen interest in architecture but was advised to keep to painting by the architect Thomas Hardwick (junior). A watercolour of Turner's was accepted for the Summer Exhibition of 1790 after only one year's study. He exhibited his first oil painting in 1796, and thereafter exhibited at the academy nearly every year for the rest of his life.
Although renowned for his oils, Turner is also one of the greatest masters of British watercolour landscape painting. He is commonly known as "the painter of light".
One of his most famous oil paintings is The fighting Temeraire tugged to her last berth to be broken up, painted in 1838, which hangs in the National Gallery, London. See also The Golden Bough.
Turner travelled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year. He also made many visits to Venice during his lifetime. On a visit to Lyme Regis, in Dorset, England, he painted a stormy scene (now in the Cincinnati Art Museum). Turner was also a frequent guest of Lord Egremont at Petworth House in West Sussex and painted scenes from the grounds of the house and of the Sussex countryside, including a view of the Chichester Canal that Egremont funded. Petworth House still displays a number of paintings.
As he grew older, Turner became more eccentric. He had few close friends except for his father, who lived with him for thirty years, eventually working as his studio assistant. His father's death in 1829 had a profound effect on him, and thereafter he was subject to bouts of depression. He never married, although he had two daughters by Sarah Danby, one born in 1801, the other in 1811.
He died in the house of his mistress Mrs Sophia Caroline Booth in Cheyne Walk, Chelsea on 19 December 1851. At his request he was buried in St Paul's Cathedral, where he lies next to Sir Joshua Reynolds. His last exhibition at the Royal Academy was in 1850.
Style
Turner's talent was recognized early in his life. He became a full art academician at the age of 29. Financial independence allowed Turner to innovate freely; his mature work is characterized 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 recognized as an artistic genius: influential English art critic John Ruskin described Turner as the artist who could most "stirringly and truthfully measure the moods of Nature."
Suitable vehicles for Turner's imagination were to be found in the subjects of shipwrecks, fires (see Burning of Parliament, an event which Turner rushed to witness first-hand, and transcribed in a series of watercolor sketches), natural catastrophes, and natural phenomena such as sunlight, storm, rain, and fog. Against such spectacular backdrops the human presence became all but insignificant. He was fascinated by the violent power of the sea, as seen in Dawn after the Wreck (1840) and The Slave Ship (1840).
His first works, such as Tintern Abbey (1795) and Venice: S. Giorgio Maggiore (1819), 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 watercolor technique with oil paints, created lightness, fluency, and ephemeral atmospheric effects.
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. In the modern art era, advocates of abstract art were also inspired by Turner.
It has been suggested that the high levels of ash in the atmosphere during the 1816 Year Without a Summer, which led to unusually spectacular sunsets during this period, were an inspiration for some of Turner's work.
John Ruskin says in his "Notes" on Turner in March 1878, that an early patron, Dr Thomas Monro, the Principal Physician of Bedlam, was a significant influence on Turner's style:
"His true master was Dr Monro; to the practical teaching of that first patron and the wise simplicity of method of watercolour study, in which he was disciplined by him and companioned by Giston, the healthy and constant development of the greater power is primarily to be attributed; the greatness of the power itself, it is impossible to over-estimate."
Legacy
Turner left a small fortune which he hoped would be used to support what he called "decayed artists". Part of the money went to the Royal Academy of Arts, which now does not use it for this purpose though occasionally it awards students the Turner Medal. His collection of finished paintings was bequeathed to the British nation, and he intended that a special gallery would be built to house them. This did not come to pass owing to a failure to agree on a site, and then to the parsimony of British governments. Twenty-two years after his death, the British Parliament passed an Act allowing his paintings to be lent to museums outside London, and so began the process of scattering the pictures which Turner had wanted to be kept together. In 1910 the main part of the Turner Bequest, which includes unfinished paintings and drawings, was rehoused in the Duveen Turner Wing at the Tate Gallery. In 1987 a new wing of the Tate, the Clore Gallery, was opened specifically to house the Turner bequest, though some of the most important paintings in it remain in the National Gallery in contravention of Turner's condition that the finished pictures be kept and shown together.
In 1974, the Turner Museum was founded in the USA by Douglass Montrose-Graem to house his collection of Turner prints.
A prestigious annual art award, the Turner Prize, created in 1984, was named in Turner's honour, but has become increasingly controversial, having promoted art which has no apparent connection with Turner's. Twenty years later the more modest Winsor & Newton Turner Watercolour Award was founded.
A major exhibition, "Turner's Britain", with material, (including The Fighting Temeraire) on loan from around the globe, was held at Birmingham Museum & Art Gallery from 7 November 2003 to 8 February 2004.
In 2005, Turner's The Fighting Temeraire was voted Britain's "greatest painting" in a public poll organized by the BBC.
In October 2005 Professor Harold Livermore, its owner for 60 years, gave Sandycombe Lodge, the villa at Twickenham which Turner designed and built for himself, to the Sandycombe Lodge Trust to be preserved as a monument to the artist. In 2006 he additionally gave some land to the Trust which had been part of Turner's domaine. The Friends of Turner's House were formed in 2004 to support it.
In April 2006, Christie's New York auctioned Giudecca, La Donna Della Salute and San Giorgio, a view of Venice exhibited at the Royal Academy in 1841, for US$35.8 million, setting a new record for a Turner. The New York Times stated that according to two sources who had requested anonymity the buyer was casino magnate Stephen Wynn.
In 2006, Turner's Glaucus and Scylla (1840) was returned by Kimbell Art Museum to the heirs of John and Anna Jaffe after a Holocaust Claim was made. The painting is scheduled to be sold by Christie's in April of 2007.
323 J. M. W. Turner Paintings
The Dogano, San Giorgio, Citella, from the Steps ... 1842
Oil Painting
$1283
$1283
Canvas Print
$51.42
$51.42
SKU: TJW-14466
Joseph Mallord William Turner
Original Size: 61.6 x 92.7 cm
Tate Gallery, London, United Kingdom
Joseph Mallord William Turner
Original Size: 61.6 x 92.7 cm
Tate Gallery, London, United Kingdom
The Ponte Delle Torri, Spoleto c.1840/45
Oil Painting
$1013
$1013
Canvas Print
$57.12
$57.12
SKU: TJW-14467
Joseph Mallord William Turner
Original Size: 91.4 x 122 cm
Tate Gallery, London, United Kingdom
Joseph Mallord William Turner
Original Size: 91.4 x 122 cm
Tate Gallery, London, United Kingdom
The Shipwreck 1805
Oil Painting
$1639
$1639
Canvas Print
$53.78
$53.78
SKU: TJW-14468
Joseph Mallord William Turner
Original Size: 170.5 x 241.6 cm
Tate Gallery, London, United Kingdom
Joseph Mallord William Turner
Original Size: 170.5 x 241.6 cm
Tate Gallery, London, United Kingdom
The Sun of Venice Going to Sea 1843
Oil Painting
$1147
$1147
Canvas Print
$51.00
$51.00
SKU: TJW-14469
Joseph Mallord William Turner
Original Size: 61.6 x 92.1 cm
Tate Gallery, London, United Kingdom
Joseph Mallord William Turner
Original Size: 61.6 x 92.1 cm
Tate Gallery, London, United Kingdom
The Thames above Waterloo Bridge c.1830/35
Oil Painting
$1093
$1093
Canvas Print
$56.14
$56.14
SKU: TJW-14470
Joseph Mallord William Turner
Original Size: 90.5 x 121 cm
Tate Gallery, London, United Kingdom
Joseph Mallord William Turner
Original Size: 90.5 x 121 cm
Tate Gallery, London, United Kingdom
Venice, the Bridge of Sighs 1840
Oil Painting
$1354
$1354
Canvas Print
$51.14
$51.14
SKU: TJW-14471
Joseph Mallord William Turner
Original Size: 68.6 x 91.4 cm
Tate Gallery, London, United Kingdom
Joseph Mallord William Turner
Original Size: 68.6 x 91.4 cm
Tate Gallery, London, United Kingdom
View of Richmond Hill and Bridge 1808
Oil Painting
$1199
$1199
Canvas Print
$57.25
$57.25
SKU: TJW-14472
Joseph Mallord William Turner
Original Size: 91.4 x 122 cm
Tate Gallery, London, United Kingdom
Joseph Mallord William Turner
Original Size: 91.4 x 122 cm
Tate Gallery, London, United Kingdom
The Dogana and Santa Maria della Salute, Venice 1843
Oil Painting
$1120
$1120
Canvas Print
$51.84
$51.84
SKU: TJW-14473
Joseph Mallord William Turner
Original Size: 62 x 93 cm
National Gallery of Art, Washington, USA
Joseph Mallord William Turner
Original Size: 62 x 93 cm
National Gallery of Art, Washington, USA
On the Upper Rhine n.d.
Paper Art Print
$51.62
$51.62
SKU: TJW-14474
Joseph Mallord William Turner
Original Size: unknown
Bolton Museum and Art Gallery, Lancashire, United Kingdom
Joseph Mallord William Turner
Original Size: unknown
Bolton Museum and Art Gallery, Lancashire, United Kingdom
Perspective View of Fonthill Abbey from the South-West n.d.
Paper Art Print
$48.03
$48.03
SKU: TJW-14475
Joseph Mallord William Turner
Original Size: unknown
Bolton Museum and Art Gallery, Lancashire, United Kingdom
Joseph Mallord William Turner
Original Size: unknown
Bolton Museum and Art Gallery, Lancashire, United Kingdom
Crook of Lune, Looking towards Hornby Castle c.1816/18
Paper Art Print
$48.03
$48.03
SKU: TJW-14476
Joseph Mallord William Turner
Original Size: 29 x 42.9 cm
Courtauld Institute of Art, London, United Kingdom
Joseph Mallord William Turner
Original Size: 29 x 42.9 cm
Courtauld Institute of Art, London, United Kingdom
Upper Falls of the Reichenbach 1802
Paper Art Print
$48.03
$48.03
SKU: TJW-14477
Joseph Mallord William Turner
Original Size: 32 x 47.5 cm
Courtauld Institute of Art, London, United Kingdom
Joseph Mallord William Turner
Original Size: 32 x 47.5 cm
Courtauld Institute of Art, London, United Kingdom
The Drachenfels 1817
Paper Art Print
$48.03
$48.03
SKU: TJW-14478
Joseph Mallord William Turner
Original Size: 21 x 29 cm
Courtauld Institute of Art, London, United Kingdom
Joseph Mallord William Turner
Original Size: 21 x 29 cm
Courtauld Institute of Art, London, United Kingdom
Mer de Glace, Chamonix with Blair's Hut c.1806
Paper Art Print
$48.03
$48.03
SKU: TJW-14479
Joseph Mallord William Turner
Original Size: 27.6 x 39.2 cm
Courtauld Institute of Art, London, United Kingdom
Joseph Mallord William Turner
Original Size: 27.6 x 39.2 cm
Courtauld Institute of Art, London, United Kingdom
Bonneville 1802
Paper Art Print
$48.03
$48.03
SKU: TJW-14480
Joseph Mallord William Turner
Original Size: 31.6 x 47.8 cm
Courtauld Institute of Art, London, United Kingdom
Joseph Mallord William Turner
Original Size: 31.6 x 47.8 cm
Courtauld Institute of Art, London, United Kingdom
Chepstow Castle c.1793
Paper Art Print
$48.03
$48.03
SKU: TJW-14481
Joseph Mallord William Turner
Original Size: 21 x 30 cm
Courtauld Institute of Art, London, United Kingdom
Joseph Mallord William Turner
Original Size: 21 x 30 cm
Courtauld Institute of Art, London, United Kingdom
Colchester c.1826
Paper Art Print
$48.03
$48.03
SKU: TJW-14482
Joseph Mallord William Turner
Original Size: 28.8 x 40.7 cm
Courtauld Institute of Art, London, United Kingdom
Joseph Mallord William Turner
Original Size: 28.8 x 40.7 cm
Courtauld Institute of Art, London, United Kingdom
Dawn after the Wreck c.1841
Paper Art Print
$48.03
$48.03
SKU: TJW-14483
Joseph Mallord William Turner
Original Size: 25.1 x 36.8 cm
Courtauld Institute of Art, London, United Kingdom
Joseph Mallord William Turner
Original Size: 25.1 x 36.8 cm
Courtauld Institute of Art, London, United Kingdom
Devonport and Dockyard, Devonshire c.1825/29
Paper Art Print
$48.03
$48.03
SKU: TJW-14484
Joseph Mallord William Turner
Original Size: 29.8 x 44 cm
Fogg Art Museum at Harvard University, Massachusetts, USA
Joseph Mallord William Turner
Original Size: 29.8 x 44 cm
Fogg Art Museum at Harvard University, Massachusetts, USA
Ehrenbreitstein 1817
Paper Art Print
$48.03
$48.03
SKU: TJW-14485
Joseph Mallord William Turner
Original Size: 20 x 32 cm
Fogg Art Museum at Harvard University, Massachusetts, USA
Joseph Mallord William Turner
Original Size: 20 x 32 cm
Fogg Art Museum at Harvard University, Massachusetts, USA
Mansion with Wooded Grounds n.d.
Paper Art Print
$48.03
$48.03
SKU: TJW-14486
Joseph Mallord William Turner
Original Size: 15.3 x 20.5 cm
Fogg Art Museum at Harvard University, Massachusetts, USA
Joseph Mallord William Turner
Original Size: 15.3 x 20.5 cm
Fogg Art Museum at Harvard University, Massachusetts, USA
Cottage by a Bridge (Beddgelert Bridge, North Wales) n.d.
Paper Art Print
$48.03
$48.03
SKU: TJW-14487
Joseph Mallord William Turner
Original Size: 21.1 x 26.7 cm
Fogg Art Museum at Harvard University, Massachusetts, USA
Joseph Mallord William Turner
Original Size: 21.1 x 26.7 cm
Fogg Art Museum at Harvard University, Massachusetts, USA
Rembrandt's Daughter Reading a Letter 1827
Oil Painting
$1199
$1199
Canvas Print
$56.00
$56.00
SKU: TJW-14488
Joseph Mallord William Turner
Original Size: 122 x 89.5 cm
Fogg Art Museum at Harvard University, Massachusetts, USA
Joseph Mallord William Turner
Original Size: 122 x 89.5 cm
Fogg Art Museum at Harvard University, Massachusetts, USA
Landscape with Bridge n.d.
Paper Art Print
$48.03
$48.03
SKU: TJW-14489
Joseph Mallord William Turner
Original Size: 25.4 x 33.8 cm
Fogg Art Museum at Harvard University, Massachusetts, USA
Joseph Mallord William Turner
Original Size: 25.4 x 33.8 cm
Fogg Art Museum at Harvard University, Massachusetts, USA