Date: Exhibited 1796
Technique: Oil on canvas, 91.4 x 122.2 cm
Showing posts with label Joseph William Turner. Show all posts
Showing posts with label Joseph William Turner. Show all posts
9/3/17
Joseph William Turner, Fishermen at Sea
Date: Exhibited 1796
Technique: Oil on canvas, 91.4 x 122.2 cm
8/22/17
After Joseph William Turner, The Eddystone Lighthouse
Date: 1824
Technique: Mezzotint on paper, 21 x 31.2 cm
12/28/16
Joseph Mallord William Turner, Buttermere Lake, with Part of Cromackwater, Cumberland, a Shower
Date: exhibited 1798
Technique: Oil on canvas, 889 x 1194 mm
12/19/16
Joseph Mallord William Turner, Keelmen Heaving in Coals by Moonlight
Date: 1835
Technique: Oil on canvas, 92.3 x 122.8 cm
7/29/15
Joseph William Turner, The Destruction of Sodom
Date: Exhibited 1805
Technique: Oil on canvas, 1460 x 2375 mm
3/20/15
Joseph William Turner, Alnwick Castle
Date: c. 1829
Technique: Watercolour on paper
12/28/12
Joseph William Turner, The Chancel and Crossing of Tintern Abbey, Looking towards the East Window
Date: 1794
Technique: Pencil and watercolour on paper, 358 x 255 mm
12/22/11
Joseph William Turner, Sunrise with Sea Monsters
Tate Gallery, London
Date: c. 1845
Technique: Oil on canvas, 914 x 1219 mm
Although this unfinished painting has come to be known as Sunrise with Sea Monsters, the obscure pink shape at the lower centre of the canvas probably depicts fish; indeed a red and white float and part of a net can be seen nearby.
Commentators have related the picture to Turner’s whaling scenes, and other paintings with fish in the foreground from the 1840s. But the subject of fishing was of interest to Turner throughout his career, as were remarkable sunsets and sunrises such as the dawn depicted here.
Source 1
Source 2
10/26/10
Joseph William Turner, Death on a Pale Horse (?)
Tate Gallery, London
Date: c. 1825-30
Technique: Oil on canvas, 597 x 756 mm
Although possibly incomplete, the subject can be identified as Death, the last of the Four Horsemen of the Apocalypse who announce the Day of Judgement (Book of Revelation). The choice may have been in response to the death of Turner’s father in 1829, suggested by the unusual treatment which is both tender and menacing. Death appears, not as a triumphant, upright figure astride his horse, but as a phantom emerging from a turbulent mist: his skeletal form, arms outstretched, and draped submissively over the horse’s pale back. Such disturbing visions were considered to embody the very concept of the Sublime.
Source
Joseph William Turner, Interior of a Prison, Lecture Diagram 65
Tate Gallery, London
Date: c.1810
Technique: Gouache, pencil and watercolour on paper, 487 x 687 mm
This drawing is one of a series which Turner made to illustrate the lectures he delivered as Professor of Perspective at the Royal Academy, a post held between 1807 and 1828. The influence of Piranesi's etchings is at its most pronounced here. The Italian printmaker's fantastical images of the imposing architecture of ancient Rome became very popular in Britain during the second half of the eighteenth century, and Turner had been engaged to copy some examples during the mid-1790s. In a particularly remarkable series,'I Carceri' (The Prisons), Piranesi grimly depicted the interiors of imaginary prisons. Here Turner adapted this Sublime genre to demonstrate the behaviour of shadows to his audience.
Source
Joseph William Turner, Melrose Abbey: Moonlight
The Manton Collection of British art, The Clark, New York
Date: c. 1822
Technique: Watercolour over pencil, 19.7 x 13.5 cm
Commissioned by Walter Fawkes to illustrate poems by Walter Scott.
If thou would’st view fair Melrose aright,
Go visit it by the pale moonlight;
For the gay beams of lightsome day
Gild, but to flout, the ruins grey.
When the broken arches are black in night,
And each shafted oriel glimmers white;
When the cold light’s uncertain shower
Streams on the ruin’d central tower;
When buttress and buttress, alternately,
Seem framed of ebon and ivory;
When silver edges the imagery,
And the scrolls that teach thee to live and die;
When distant Tweed is heard to rave,
And the owlet to hoot o’er the dead man’s grave,
Then go–but go alone the while–
Then view St. David’s ruin’d pile;
And, home returning, soothly swear,
Was never scene so sad and fair!
(Walter Scott - The Lay of the Last Minstrel – Canto II – I)
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