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Turner's major venture into printmaking was the Liber Studiorum (Book of Studies), seventy prints that he worked on from 1806 to 1819. The Liber Studiorum was an expression of his intentions for landscape art. The idea was loosely based on Claude Lorrain's Liber Veritatis (Book of Truth), where Claude had recorded his ... |
His early works, such as Tintern Abbey (1795), stay true to the traditions of English landscape. In Hannibal Crossing the Alps (1812), an emphasis on the destructive power of nature has already come into play. His distinctive style of painting, in which he used watercolour technique with oil paints, created lightness, ... |
In Turner's 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 recognisable. The intensity of hue and interest in... |
High levels of volcanic ash (from the eruption of Mount Tambora) in the atmosphere during 1816, the "Year Without a Summer", led to unusually spectacular sunsets during this period, and were an inspiration for some of Turner's work. |
John Ruskin said that an early patron, Thomas Monro, Principal Physician of Bedlam, and a collector and amateur artist, 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 his friend Girtin, the healthy and constant development of the greater power is primarily to be attributed; the greatness of the powe... |
Together with a number of young artists, Turner was able, in Monro's London house, to copy works of the major topographical draughtsmen of his time and perfect his skills in drawing. But the curious atmospherical effects and illusions of John Robert Cozens's watercolours, some of which were present in Monro's house, we... |
Materials |
Turner experimented with a wide variety of pigments. He used formulations like carmine, despite knowing that they were not long-lasting, and against the advice of contemporary experts to use more durable pigments. As a result, many of his colours have now faded. Ruskin complained at how quickly his work decayed; Turner... |
Gallery |
Legacy |
Turner left a small fortune, which he hoped would be used to support what he called "decayed artists". He planned an almshouse at Twickenham in west London with a gallery for some of his works. His will was contested and in 1856, after a court battle, his first cousins, including Thomas Price Turner, received part of h... |
One of the greatest collectors of his work was Henry Vaughan, who when he died in 1899 owned more than one hundred watercolours and drawings by Turner and as many prints. His collection included examples of almost every type of work on paper the artist produced, from early topographical drawings and atmospheric landsca... |
In 1910, the main part of the Turner Bequest, which includes unfinished paintings and drawings, was rehoused in the Duveen Turner Wing at the National Gallery of British Art (now Tate Britain). In 1987, a new wing at the Tate, the Clore Gallery, was opened to house the Turner bequest, though some of the most important ... |
St. Mary's Church, Battersea, added a commemorative stained glass window for Turner, between 1976 and 1982. St Paul's Cathedral, Royal Academy of Arts and the Victoria & Albert Museum all hold statues representing him. A portrait by Cornelius Varley with his patent graphic telescope (Sheffield Museums & Galleries) was ... |
Selby Whittingham founded The Turner Society at London and Manchester in 1975. After the society endorsed the Tate Gallery's Clore Gallery wing (on the lines of the Duveen wing of 1910), as the solution to the controversy of what should be done with the Turner Bequest, Selby Whittingham resigned and founded the Indepen... |
Portrayal |
Leo McKern played Turner in The Sun Is God, a 1974 Thames Television production directed by Michael Darlow. The programme aired on 17 December 1974, during the Turner Bicentenary Exhibition in London. |
British filmmaker Mike Leigh wrote and directed Mr. Turner, a biopic of Turner's later years, released in 2014. The film stars Timothy Spall as Turner, Dorothy Atkinson, Marion Bailey and Paul Jesson, and premiered in competition for the Palme d'Or at the 2014 Cannes Film Festival, with Spall taking the award for Best ... |
The Bank of England announced that a portrait of Turner, with a backdrop of The Fighting Temeraire, would appear on the £20 note beginning in 2020. It is the first £20 British banknote printed on polymer.It came into circulation on Thursday 20 February 2020. |
See also |
List of paintings by J. M. W. Turner |
Explanatory notes |
Citations |
General and cited sources |
Bailey, Anthony (1998). Standing in the Sun: A Life of J. M. W. Turner. London: Pimlico. ISBN 0-7126-6604-4. |
Finberg, A. J. (1961) [1939]. The Life of J. M. W. Turner, R.A. Oxford: Oxford University Press. |
Hamilton, James (2007). Turner. New York: Random House. ISBN 978-0-8129-6791-3. |
Harrison, Colin (2000). Turner's Oxford. Oxford: Ashmolean Museum. |
Hill, David (2008). Turner and Leeds: Image of Industry. Jeremy Mills Publishing. |
Moyle, Franny (2016). Turner: The Extraordinary Life and Momentous Times of J.M.W. Turner. Penguin/Random House. ISBN 978-0-241-96456-9. |
Warburton, Stanley (2008). Discovering Turner's Lakeland. Lytham St Annes: Stanley Warburton. |
Whittingham, Selby (1993–1996). An Historical Account of the Will of J. M. W. Turner, R.A. London: J. M. W. Turner, R.A., Publications. |
Wilton, Andrew (2006). Turner in His Time (revised ed.). London: Thames & Hudson. ISBN 978-0-500-23830-1. |
Further reading |
Ackroyd, Peter (2005). J. M. W. Turner. Ackroyd's Brief Lives. New York: Nan A. Talese. ISBN 0-385-50798-4. |
Barker, Elizabeth E. "Joseph Mallord William Turner (1775–1851)". Heilbrunn Timeline of Art History. The Metropolitan Museum of Art. |
Bockemühl, Michael (2015) [1991]. J. M. W. Turner, 1775–1851: The World of Light and Colour. Köln: Taschen. ISBN 978-3-8228-6325-1. |
Hamilton, James (1998). Turner and the Scientists. London: Tate Publishing. ISBN 978-1-85437-255-0. |
Joll, Evelyn; Butlin, Martin; Herrmann, Luke, eds. (2001). The Oxford Companion to J. M. W. Turner. Oxford: Oxford Univ. Press. ISBN 0-19-860025-9. |
Singh, Iona (2012). "J.M.W. Turner as Producer". Color, Facture, Art & Design. Winchester, UK; Washington, DC: Zero Books. pp. 129–152. ISBN 978-1-78099-629-5. |
Townsend, Joyce (1993). Turner's Painting Techniques. London: Tate Publishing. ISBN 978-1-85437-202-4. |
Venning, Barry (2003). Turner. Berlin: Phaidon Verlag GmbH. ISBN 0-7148-3988-4. |
Wallace, Robert K. (1992). Melville & Turner: Spheres of Love and Fright. The University of Georgia Press. ISBN 0-8203-1366-1. "Wallace explores the stylistic and aesthetic affinities of English landscape painter J. M. W. Turner (1775-1851) and American novelist Herman Melville, establishing Turner as a decisive influe... |
Williams, Roger (2018). A Year of Turner and the Thames. London: Bristol Book Publishing. ISBN 978-0-9928466-9-5. |
Wilton, Andrew (1982). J. M. W. Turner: France, Italy, Germany, Switzerland. New York: George Braziller. ISBN 978-0807610466. |
External links |
"Turner, Joseph Mallord William" . Encyclopedia Americana. 1920. |
400 artworks by or after J. M. W. Turner at the Art UK site |
The Turner Society |
Turner & the 1834 Parliament Fire – UK Parliament Living Heritage |
Christie's Videos – Giudecca, La Donna della Salute and San Giorgio Joseph Mallord William Turner, RA Archived 31 May 2013 at the Wayback Machine |
Sotheby's Videos – The Temple of Jupiter Panellenius Joseph Mallord William Turner, RA |
Sotheby's Videos – Modern Rome Campo Vaccino and The condition of Modern Rome, Campo Vaccino J. M. W. Turner, RA |
J.M.W. Turner exhibition catalogs |
Web site of the Tate Turner Collection, includes the "Turner Bequest" of over 300 Oil paintings and over 30,000 sketches. The catalogue holds records of over 40,000 works by Turner |
Works by J. M. W. Turner at Project Gutenberg |
Works by or about J. M. W. Turner at the Internet Archive |
A Brief History of Abstract Art with Turner, Mondrian and More |
"Turner's Whaling Pictures", The Metropolitan Museum of Art Bulletin, v. 73, no. 4 (Spring, 2016) |
Johnson, Ken (3 June 2016). "In Turner Paintings at the Met, the Bloody Business of Whaling". The New York Times. pp. C23. ProQuest 2310050465. |
Rocks at Colgong on the Ganges., engraved by Edward Goodall for Fisher's Drawing Room Scrap Book, 1839, with a poetical illustration by Letitia Elizabeth Landon. |
"Splendid Lies" review by John Updike of J.M.W. Turner: an exhibition at the National Gallery of Art, Washington, D.C., October 1, 2007 – January 6, 2008; the Dallas Museum of Art, February 10 – May 18, 2008; and the Metropolitan Museum of Art, New York, June 24 – September 21, 2008. |
Turner's poems and other texts (Bibliotheca Augustana) |
Joseph-François Ducq, a Flemish historical and portrait painter, was born at Ledeghem in 1763. He studied at Bruges, and then under Suvée in Paris, where he obtained the second grand prize in 1800, and a medal in 1810. He also spent a considerable time in Italy, but returned to Bruges in 1815, and became a professor in... |
Meleager. 1804. |
Devotion of a Scythian. 1810. |
Marriage of Angelica and Medora. 1812. |
Venus emerging from the Sea. (Brussels Museum) |
William I., King of the Netherlands. (Bruges Academy.) |
Van Gierdergom. (Bruges Academy.) |
References |
This article incorporates text from a publication now in the public domain: Bryan, Michael (1886). "Ducq, Josephus Franciscus". In Graves, Robert Edmund (ed.). Bryan's Dictionary of Painters and Engravers (A–K). Vol. I (3rd ed.). London: George Bell & Sons. |
Judith Jans Leyster (also Leijster; baptised July 28, 1609 – February 10, 1660) was a Dutch Golden Age painter of genre works, portraits, and still lifes. Her work was highly regarded by her contemporaries, but largely forgotten after her death. Her entire oeuvre came to be attributed to Frans Hals or to her husband, J... |
Biography |
Leyster was born in July 1609 in Haarlem to a local cloth maker who later became a brewer. She was the eighth child of Jan Willemsz Leyster. While the details of her training are uncertain, she was mentioned by contemporary Haarlem poet Samuel Ampzing in his book Beschrijvinge ende lof der stadt Haerlem (1628). |
Some scholars speculate that Leyster pursued a career in painting to help support her family after her father's bankruptcy. She may have learned painting from Frans Pietersz de Grebber, who was running a respected workshop in Haarlem in the 1620s. During this time her family moved to the province of Utrecht, and she ma... |
It has been suggested that Leyster's Self-Portrait, c. 1633 (National Gallery of Art, Washington, D.C.), may have been her presentation piece to the Guild. This work marks a shift from the rigidity of earlier women's self-portraits toward a more relaxed, dynamic pose. It is very relaxed by the standards of other Dutch ... |
Within two years of entering the Guild, Leyster had taken on three male apprentices. Records show that Leyster sued Frans Hals for accepting a student who left her workshop for his without first obtaining the Guild's permission. The student's mother paid Leyster four guilders in punitive damages, only half of what Leys... |
In 1636, Leyster married Jan Miense Molenaer, a more prolific artist than herself who worked on similar subjects. In hopes of better economic prospects, the couple moved to Amsterdam where Molenaer already had clients. They remained there for eleven years before returning to Heemstede in the Haarlem area. There they sh... |
Most of Leyster's dated works were produced before her marriage and are dated between 1629 and 1635. There are few known pieces by her painted after 1635: two illustrations in a book about tulips from 1643, a portrait from 1652, and a still life from 1654 that was discovered in a private collection in the 21st century.... |
Work |
Leyster signed her works with a monogram of her initials JL with a star attached. This was a play on words: "Leister" meant "Lead star" in Dutch and for Dutch mariners of the time it was the common name for the North Star. The Leistar was the name of her father's brewery in Haarlem. Only occasionally did she sign her w... |
She specialized in portrait-like genre scenes, typically of one to three figures, who generally exude good cheer and are shown against a plain background. Many are children, and others are men drinking. Leyster was particularly innovative in her domestic genre scenes. These are quiet scenes of women at home, often with... |
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