The Life and Masterworks of J.M.W. Turner (Temporis)

The Life and Masterworks of J.M.W. Turner (Temporis)

Language: English

Pages: 255

ISBN: 1859956815

Format: PDF / Kindle (mobi) / ePub

The highlights of this book are:
- Important works of Turner
- Illustrations with an index for each work
- Details on each illustration with its size and where it is displayed

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1801. Oil on canvas, 162.5 x 222 cm. Private Collection, on loan to the National Gallery, London, U.K. One of Britain’s leading collectors, the third Duke of Bridgewater, commissioned this painting, which is why it is also called “The Bridgewater Seapiece”. The aristocrat wanted the work to hang in his gallery at Bridgewater House alongside a painting by Willem van de Velde, the younger, entitled A Rising Gale (now in the Toledo Museum of Art, Toledo, Ohio). A marked feature of the latter work

that is nominally depicted in this design, the Colne, is barely visible, for it runs at a lower level than the Grand Union Canal, which is the body of water crossing the foreground to the right. (The Colne itself can be made out distantly below the cattle on the left, and meandering beyond Lot Mead lock in the centre.) A series of shallow V shapes lead the eye from the lock gates to the distant house. Evidently it has just rained in the distance, although not in the foreground, judging by the

from light to dark (for it is very difficult to place a light mark over a darker one but not the reverse). Instead of mixing up a palette containing all of the many tones he required for a given image, Turner instead copied Rooker and mixed up merely one tone at a time before placing it at different locations across a sheet of paper. Then, while that work dried, he would take some of the remaining tonal mixture off his palette and brush it onto various locations in further watercolours, which

data on the Victory, Turner borrowed sketches from another marine painter, J.C. Schetky (1778-1874). However, when The Battle of Trafalgar eventually went on show in St James’s Palace, Turner then had to spend eleven days correcting it. One of his errors stemmed from Schetky who had drawn the Victory at Portsmouth when she was unladen, and thus floated high in the water (as we shall see, this effect was not lost on Turner, for he would put it to positive use in The Fighting “Temeraire” of 1839,

were laid out around his studio in a production line. By the time he returned to the first drawing it would have dried. Turner would then slightly darken the given colour on his palette and add the next “note” down the tonal “scale” from light to dark to this work and its successors. Naturally, such a process saved enormous time, for it did not require the simultaneous creation of a vast range of tones, which would also have required a huge palette and a multitude of brushes, one for each tone.

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