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Joseph Mallord William Turner Paintings
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Turner Joseph William
Biography
Britannica Concise Encyclopedia:Joseph Mallord William
Turner
(born April 23, 1775, London, Eng. — died Dec. 19, 1851,
London) British landscape painter. The son of a barber, he entered the
Royal Academy school in 1789. In 1802 he became a full academician and
in 1807 was appointed professor of perspective. His early work was
concerned with accurate depictions of places, but he soon learned from Richard
Wilson to take a more poetic and imaginative approach. The
Shipwreck (1805) shows his new emphasis on luminosity, atmosphere,
and Romantic, dramatic subjects. After a trip to Italy in 1819, his
colour became purer and more prismatic, with a general heightening of
key. In later paintings, such as Sunrise, with a Boat Between
Headlands (1845), architectural and natural details are sacrificed
to effects of colour and light, with only the barest indication of mass.
His compositions became more fluid, suggesting movement and space. In
breaking down conventional formulas of representation, he anticipated
French Impressionism.
His immense reputation in the 19th century was due largely to John
Ruskin's enthusiasm for his early works; 20th-century critics
celebrated the abstract qualities of his late colour compositions.
For more information on Joseph Mallord William Turner, visit Britannica.com.
Columbia Encyclopedia:Joseph Mallord William Turner
Turner, Joseph Mallord William, 1775-1851,
English landscape painter, b. London. Turner was the foremost English
romantic painter and the most original of English landscape artists; in
watercolor he is unsurpassed. The son of a barber, he received almost no
general education but at 14 was already a student at the Royal Academy
of Arts and three years later was making topographical drawings for
magazines. In 1791 for the first time he exhibited two watercolors at
the Royal Academy. In the following 10 years he exhibited there
regularly, was elected a member (1802), and was made professor of
perspective (1807). By 1799 the sale of his work had freed him from
drudgery and he devoted himself to the visionary interpretations of
landscape for which he became famous.In 1802, Turner made a trip to
the Continent, where he painted his famous Calais Pier (National
Gall., London). From then on he traveled constantly in England or
abroad, making innumerable direct sketches from which he drew material
for his studio paintings in oil and watercolor. Turner showed a
remarkable ability to distill the best from the tradition of landscape
painting and he helped to further elevate landscape (and seascape) as
important artistic subject matter. The influence of the Dutch masters is
apparent in his Sun Rising through Vapor (National Gall.,
London). In the vein of the French classical landscape painter, Claude
Lorrain, he produced the Liber Studiorum (1807-19), 70
drawings that were later reproduced by engraving under Turner's
supervision. Among the paintings evocative of Claude's style are his Dido
Building Carthage (National Gall., London) and Crossing the
Brook (Tate Gall., London). Despite his early and continued success
Turner lived the life of a recluse. As his fame grew he maintained a
large gallery in London for exhibition of his work, but continued to
live quietly with his elderly father. Turner's painting became
increasingly abstract as he strove to portray light, space, and the
elemental forces of nature. In fact, some of his modern admirers have
noted that the true subjects of his late paintings are the radiance of
light and the vitality of paint itself. Characteristic of his later
period are such paintings as The Fighting Téméraire and Rain,
Steam, and Speed (both: National Gall., London). His late Venetian
works, which describe atmospheric effects with brighter colors, include The
Grand Canal (Metropolitan Mus.) and Approach to Venice
(National Gall. of Art, Washington, D.C.). Turner encountered violent
criticism as his style became increasingly free, but he was passionately
defended by Sir Thomas Lawrence
and the youthful Ruskin.
Visionary, revolutionary, and extremely influential, these late
paintings laid the groundwork for impressionism,
postimpressionism,
abstract
expressionism, color-field
painting, and a myriad of other art movements of the late 19th and
20th cents. Turner's will, which was under litigation for many years,
left more than 19,000 watercolors, drawings, and oils to the British
nation. Most of these works are in the National Gallery and the Tate
Gallery, London. Many of Turner's oils have deteriorated badly. Bibliography See his watercolors (ed. by M.
Butlin, 1962); catalog by A. J. Finberg (1968); biographies by A. J.
Finberg (2d ed. 1961), J. Lindsay (1966), A. Bailey (1998), J. Woodhouse
(2000), and J. Hamilton (2003); studies by J. Rothenstein and M. Butlin
(1964), L. Gowing (1966), J. Gage (1969), and W. Gaunt (1971); M.
Butlin and E. Joll, The Paintings and Drawings of J. W. M. Turner
(1987); W. S. Rodner, J. M. W. Turner: Romantic Painter of the
Industrial Revolution (1997); G. Finley, Angel in the Sun:
Turner's Vision of History (1999); I. Warrell, Turner and Venice
(2004).
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