18 X 14 Hannibal Wall Art Painting of Mountains and a River

British painter (1775–1851)

Not to be confused with the painter William Turner of Oxford.

J. M. Westward. Turner RA
Self-Portrait, oil on canvas, c.  1799
Born	Joseph Mallord William Turner (1775-04-23)23 April 1775 Covent Garden, London
Died	19 Dec 1851(1851-12-nineteen) (aged 76) Cheyne Walk, Chelsea, England
Resting place	St Paul's Cathedral
Nationality	English language
Pedagogy	Royal Academy of Arts
Known for	Paintings
Notable work	The Fighting Temeraire Pelting, Steam and Speed
Motion	Romanticism

Joseph Mallord William Turner RA (23 April 1775 – nineteen December 1851), known in his fourth dimension as William Turner,^[a] was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colourisations, imaginative landscapes and turbulent, ofttimes tearing marine paintings. He left behind more than 550 oil paintings, two,000 watercolours, and thirty,000 works on paper.^[1] He was championed by the leading English language art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivalling history painting.^[2]

Turner was built-in in Maiden Lane, Covent Garden, London, to a modest lower-center-course family unit. He lived in London all his life, retaining his Cockney accent and assiduously avoiding the trappings of success and fame. A child prodigy, Turner studied at the Purple Academy of Arts from 1789, enrolling when he was fourteen, and exhibited his first work there at 15. During this period, he besides served as an architectural draftsman. He earned a steady income from commissions and sales, which due to his troubled, contrary nature, were often begrudgingly accustomed. He opened his own gallery in 1804 and became professor of perspective at the academy in 1807, where he lectured until 1828. He travelled to Europe from 1802, typically returning with voluminous sketchbooks.

Intensely individual, eccentric and reclusive, Turner was a controversial figure throughout his career. He did non marry, merely fathered two daughters, Eveline (1801–1874) and Georgiana (1811–1843), by his housekeeper Sarah Danby. He became more pessimistic and morose as he got older, specially afterward the death of his father, when his outlook deteriorated, his gallery vicious into disrepair and neglect, and his art intensified. In 1841, Turner rowed a boat into the Thames so he could not be counted as nowadays at whatever property in that year's census.^[3] He lived in squalor and poor wellness from 1845, and died in London in 1851 anile 76. Turner is buried in Saint Paul'southward Cathedral, London.^[4]

Biography [edit]

Early on life [edit]

The house in Maiden Lane where Turner was born, c.1850s

Joseph Mallord William Turner was born on 23 April 1775 and baptised on 14 May.^[b] He was born in Maiden Lane, Covent Garden, in London, England.^[five] His male parent William Turner was a barber and wig maker.^[7] His mother, Mary Marshall, came from a family of butchers.^[8] He was raised a Methodist.^[ix] A younger sister, Mary Ann, was built-in in September 1778 but died in Baronial 1783.^[10]

Turner's mother showed signs of mental disturbance from 1785 and was admitted to St Luke's Hospital for Lunatics in Quondam Street in 1799. She was moved in 1800 to Bethlem Hospital,^[11] a mental asylum, where she died in 1804.^[c] Turner was sent to his maternal uncle, Joseph Mallord William Marshall, a butcher^{[12] [13]} in Brentford, then a small town on the banks of the River Thames west of London. The primeval known creative exercise by Turner is from this period—a serial of unproblematic colourings of engraved plates from Henry Boswell'south Picturesque View of the Antiquities of England and Wales.^[xiv]

Around 1786, Turner was sent to Margate on the north-eastward Kent coast. In that location he produced a serial of drawings of the town and surrounding area that foreshadowed his later work.^[xv] By this time, Turner's drawings were existence exhibited in his begetter's store window and sold for a few shillings.^[viii] His father boasted to the artist Thomas Stothard that: "My son, sir, is going to be a painter".^[16] In 1789, Turner again stayed with his uncle who had retired to Sunningwell (now role of Oxfordshire). A whole sketchbook of work from this time in Berkshire survives besides as a watercolour of Oxford. The use of pencil sketches on location, as the foundation for after finished paintings, formed the basis of Turner'south essential working manner for his whole career.^[14]

Many early sketches by Turner were architectural studies or exercises in perspective, and it is known that, as a young homo, he worked for several architects including Thomas Hardwick, James Wyatt and Joseph Bonomi the Elder.^[17] By the end of 1789, he had also begun to study nether the topographical draughtsman Thomas Malton, who specialised in London views. Turner learned from him the bones tricks of the trade, copying and colouring outline prints of British castles and abbeys. He would later phone call Malton "My real chief".^[eighteen] Topography was a thriving industry by which a immature creative person could pay for his studies.

Career [edit]

Turner entered the Royal Academy of Art in 1789, aged fourteen,^[19] and was accepted into the academy a yr later by Sir Joshua Reynolds. He showed an early interest in architecture, but was brash by Hardwick to focus on painting. His showtime watercolour, A View of the Archbishop'due south Palace, Lambeth was accustomed for the Purple Academy summer exhibition of 1790 when Turner was 15.

Every bit an academy probationer, Turner was taught drawing from plaster casts of antiquarian sculptures. From July 1790 to Oct 1793, his name appears in the registry of the university over a hundred times.^[20] In June 1792, he was admitted to the life course to learn to draw the human being body from nude models.^[21] Turner exhibited watercolours each year at the university while painting in the winter and travelling in the summertime widely throughout Britain, particularly to Wales, where he produced a wide range of sketches for working upwardly into studies and watercolours. These particularly focused on architectural work, which used his skills as a draughtsman.^[twenty] In 1793, he showed the watercolour titled The Rising Squall – Hot Wells from St Vincent's Rock Bristol (now lost), which foreshadowed his after climatic effects.^[22] The British writer Peter Cunningham, in his obituary of Turner, wrote that information technology was: "recognised by the wiser few as a noble try at lifting landscape art out of the tame insipidities...[and] evinced for the beginning time that mastery of effect for which he is now justly celebrated".^[23]

Fishermen at Ocean, exhibited in 1796 was the first oil painting exhibited past Turner at the Royal University.

In 1796, Turner exhibited Fishermen at Sea, his first oil painting for the university, of a nocturnal moonlit scene of the Needles off the Island of Wight, an image of boats in peril.^[24] Wilton said that the epitome was "a summary of all that had been said nigh the ocean by the artists of the 18th century".^[25] and shows stiff influence by artists such as Claude Joseph Vernet, Philip James de Loutherbourg, Peter Monamy and Francis Swaine, who was admired for his moonlight marine paintings. The image was praised by contemporary critics and founded Turner'south reputation as both an oil painter of maritime scenes.^[26]

Charles Turner, c.1840, Portrait of J. M. W. Turner, making his sketch for the celebrated picture of 'Mercury & Argus' (exhibited in 1836)

Turner travelled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year. He made many visits to Venice. Important back up for his work came from Walter Ramsden Fawkes of Farnley Hall, well-nigh Otley in Yorkshire, who became a close friend of the artist. Turner get-go visited Otley in 1797, aged 22, when commissioned to pigment watercolours of the area. He was then attracted to Otley and the surrounding surface area that he returned to it throughout his career. The stormy backdrop of Hannibal Crossing The Alps is reputed to accept been inspired past a storm over the Chevin in Otley while he was staying at Farnley Hall.

Turner was a frequent invitee of George O'Brien Wyndham, third Earl of Egremont, at Petworth House in Due west Sussex and painted scenes that Egremont funded taken from the grounds of the house and of the Sussex countryside, including a view of the Chichester Culvert. Petworth House nonetheless displays a number of paintings.

Later life [edit]

Equally Turner grew older, he became more eccentric. He had few close friends except for his father, who lived with him for 30 years and worked equally his studio assistant. His father's death in 1829 had a profound effect on him, and thereafter he was bailiwick to bouts of low. He never married simply had a relationship with an older widow, Sarah Danby. He is believed to have been the father of her ii daughters Evelina Dupois and Georgiana Thompson.^[27]

Turner, painted from memory by Linnell (1838)

Turner formed a human relationship with Sophia Caroline Booth after her 2nd married man died, and he lived for about 18 years equally "Mr Berth" in her firm in Chelsea.^[28]

Turner was a habitual user of snuff; in 1838, Louis Philippe I, King of the French presented a aureate snuff box to him.^[29] Of two other snuffboxes, an agate and argent example bears Turner's proper noun,^[30] and another, made of wood, was collected along with his spectacles, magnifying drinking glass and card example by an associate housekeeper.^[31]

Turner formed a short but intense friendship with the artist Edward Thomas Daniell. The painter David Roberts wrote of him that, "He adored Turner, when I and others doubted, and taught me to see & to distinguish his beauties over that of others ... the old human really had a fond & personal regard for this young chaplain, which I uncertainty he e'er evinced for the other".^[32] Daniell may have supplied Turner with the spiritual comfort he needed afterward the deaths of his male parent and friends, and to "ease the fears of a naturally reflective human approaching sometime age".^[32] Afterward Daniell's decease in Lycia at the age of 38, he told Roberts he would never form such a friendship again.^[33]

Earlier leaving for the Middle East, Daniell commissioned his portrait from John Linnell. Turner had previously refused to sit for the creative person, and information technology was difficult to go his agreement to exist portrayed. Daniell positioned the two men reverse each other at dinner, so that Linnell could discover his subject field advisedly and portray his likeness from retentiveness.^[33]

Turner died of cholera at the home of Sophia Caroline Booth, in Cheyne Walk in Chelsea, on xix December 1851. He is buried in St Paul's Cathedral, where he lies near the painter Sir Joshua Reynolds.^[34] Apparently his last words were "The Sun (or Son?) is God",^[35] though this may exist apocryphal.^[36]

Turner's friend, the architect Philip Hardwick, the son of his erstwhile tutor, was in charge of making the funeral arrangements and wrote to those who knew Turner to tell them at the time of his death that, "I must inform yous, nosotros have lost him."^{[ commendation needed ]} Other executors were his cousin and chief mourner at the funeral, Henry Harpur IV (benefactor of Westminster – now Chelsea & Westminster – Hospital), Revd. Henry Scott Trimmer, George Jones RA and Charles Turner ARA.^[37]

Fine art [edit]

Style [edit]

Turner's talent was recognised early in his life. Fiscal independence allowed Turner to innovate freely; his mature work is characterised past a chromatic palette and broadly practical atmospheric washes of pigment. According to David Piper's The Illustrated History of Fine art, his later pictures were called "fantastic puzzles". Turner was recognised every bit an artistic genius; the English art critic John Ruskin described him as the creative person who could most "stirringly and truthfully mensurate the moods of Nature".^[38] Turner's work drew criticism from contemporaries, in particular from Sir George Beaumont, a landscape painter and beau fellow member of the Royal Academy, who described his paintings as "blots".^[39]

Turner's imagination was sparked past shipwrecks, fires (including the burning of Parliament in 1834, an effect which Turner witnessed get-go-hand, and transcribed in a series of watercolour sketches), and natural phenomena such as sunlight, storm, rain, and fog. He was fascinated by the tearing power of the ocean, as seen in Dawn after the Wreck (1840) and The Slave Ship (1840).

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 fine art. The idea was loosely based on Claude Lorrain's Liber Veritatis (Book of Truth), where Claude had recorded his completed paintings; a series of print copies of these drawings, by then at Devonshire House, had been a huge publishing success. Turner'southward plates were meant to exist widely disseminated, and categorised the genre into half dozen types: Marine, Mountainous, Pastoral, Historical, Architectural, and Elevated or Epic Pastoral.^[xl] His printmaking was a major role of his output, and a museum is devoted to it, the Turner Museum in Sarasota, Florida, founded in 1974 by Douglass Montrose-Graem to house his drove of Turner prints.^[41]

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, fluency, and imperceptible atmospheric effects.^[42]

In Turner's later on years, he used oils e'er more transparently and turned to an evocation of nearly pure calorie-free by use of shimmering colour. A prime example of his mature style tin be seen in Rain, Steam and Speed – The Swell Western Railway, where the objects are barely recognisable. The intensity of hue and interest in evanescent low-cal not merely placed Turner's work in the vanguard of English painting but exerted an influence on art in French republic; the Impressionists, particularly Claude Monet, advisedly studied his techniques. He is as well generally regarded as a precursor of abstract painting.

High levels of volcanic ash (from the eruption of Mount Tambora) in the atmosphere during 1816, the "Yr Without a Summer", led to unusually spectacular sunsets during this period, and were an inspiration for some of Turner'due south piece of work.

John Ruskin said that an early patron, Thomas Monro, Primary Physician of Clamor, and a collector and amateur artist, was a meaning influence on Turner's fashion:

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 past him and companioned past his friend Girtin, 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-approximate.

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 fourth dimension and perfect his skills in drawing. But the curious atmospherical furnishings and illusions of John Robert Cozens'southward watercolours, some of which were nowadays in Monro's house, went far further than the neat renderings of topography. The solemn grandeur of his Alpine views were an early on revelation to the young Turner and showed him the true potential of the watercolour medium, conveying mood instead of information.

Materials [edit]

Turner experimented with a broad variety of pigments.^[43] He used formulations similar red, despite knowing that they were not long-lasting, and against the advice of contemporary experts to use more durable pigments. As a outcome, many of his colours have now faded. Ruskin complained at how quickly his work rust-covered; Turner was indifferent to posterity and chose materials that looked skilful when freshly applied.^[44] Past 1930, there was business that both his oils and his watercolours were fading.^[45]

Gallery [edit]

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  Wreckers Coast of Northumberland, c.1836, oil on sheet, Yale Center for British Art

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  The Fighting Temeraire tugged to her last berth to be cleaved upward, 1838, oil on canvas, National Gallery, London

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Legacy [edit]

Turner left a small fortune which he hoped would be used to support what he called "decayed artists". He planned an almshouse at Twickenham with a gallery for some of his works. His volition was contested and in 1856, after a court boxing, his outset cousins, including Thomas Price Turner, received role of his fortune.^[46] Another portion went to the Royal Academy of Arts, which occasionally awards students the Turner Medal. His finished paintings were ancestral to the British nation, and he intended that a special gallery would be congenital to house them. This did not happen due to disagreement over the last site. Twenty-two years after his death, the British Parliament passed an act allowing his paintings to exist lent to museums outside London, and and then began the procedure of handful the pictures which Turner had wanted to exist kept together.

One of the greatest collectors of his work was Henry Vaughan who when he died in 1899 owned more one hundred watercolours and drawings by Turner and equally many prints. His collection included examples of almost every type of work on paper the creative person produced, from early topographical drawings and atmospheric mural watercolours, to vivid colour studies, literary vignette illustrations and spectacular exhibition pieces. It included nearly a hundred proofs of Liber Studiorum and 20-iii drawings connected with information technology. It was an unparalled drove that comprehensively represented the diverseness, imagination and technical inventiveness of Turner'due south piece of work throughout his sixty-year career. Vaughan ancestral the most of his Turner collection to British and Irish public galleries and museums, stipulating that the collections of Turner'southward watercolours should exist 'exhibited to the public all at once, free of charge and only in January', demonstrating an awareness of conservation which was unusual at the time.^[47]

In 1910, the master 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 fly at the Tate, the Clore Gallery, was opened to house the Turner bequest, though some of the nearly important paintings remain in the National Gallery in contravention of Turner's condition that they be kept and shown together. Increasingly paintings are lent abroad, ignoring Turner's provision that they remain constantly and permanently in Turner'due south Gallery.

St. Mary's Church, Battersea added a commemorative stained glass window for Turner, between 1976 and 1982.^[48] St Paul'south 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 compared with his decease mask (National Portrait Gallery, London) by Kelly Freeman at Dundee Academy 2009–10 to define whether it really depicts Turner. The Urban center of Westminster unveiled a memorial plaque at the site of his birthplace at 21 Maiden Lane, Covent Garden 2 June 1999.^[49]

Selby Whittingham founded The Turner Society at London and Manchester in 1975. Later the club endorsed the Tate Gallery'due south Clore Gallery fly (on the lines of the Duveen fly of 1910), equally the solution to the controversy of what should be done with the Turner Bequest, Selby Whittingham resigned and founded the Contained Turner Society. The Tate created the prestigious annual Turner Prize art award in 1984, named in Turner'due south honour, and twenty years later the Royal Plant of Painters in Water Colours founded the Winsor & Newton Turner Watercolour Award. A major exhibition, "Turner'southward Britain", with material (including The Fighting Temeraire) on loan from around the globe, was held at Birmingham Museum and Art Gallery from 7 November 2003 to 8 Feb 2004. In 2005, Turner'south The Fighting Temeraire was voted Britain's "greatest painting" in a public poll organised by the BBC.^[50]

Portrayal [edit]

Leo McKern played Turner in The Dominicus is God, a 1974 Thames Telly production directed by Michael Darlow.^[51] The programme aired on 17 December 1974, during the Turner Bicentenary Exhibition in London.^[52] British filmmaker Mike Leigh wrote and directed Mr. Turner, a biopic of Turner's later years, released in 2014. The moving-picture show starred 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 Histrion.^{[53] [54]}

The Banking concern of England announced that a portrait of Turner, with a backdrop of The Fighting Temeraire, would appear on the £twenty annotation beginning in 2020. Information technology is the first £20 British banknote printed on polymer.^{[55] [56]} It came into apportionment on Thursday xx Feb 2020.

Notes [edit]

1. ^ Although Turner was known by his middle name, William, he is now generally referred to past his initials, in guild to avoid confusion with the artist William Turner (1789–1862).
2. ^ Turner claimed to have been built-in on 23 April 1775, which is both Saint George'south Day and the supposed birthday of William Shakespeare, but this claim has never been verified.^[5] The first verifiable date is that Turner was baptised on xiv May, and some authors doubt the 23 April engagement on the grounds that high babe bloodshed rates meant that parents usually baptised their children shortly subsequently birth.^[6]
3. ^ Her disease was peradventure due in function to the early on decease of Turner's younger sister. Hamilton suggests that this "fit of affliction" may have been an early sign of her madness.^{[ citation needed ]}

References [edit]

1. ^ "Turner Society Homepage". Retrieved 27 November 2011.
2. ^ Lacayo, Richard (eleven October 2007). "The Sunshine Male child". Time. Archived from the original on 12 October 2007. At the turn of the 18th century, history painting was the highest purpose art could serve, and Turner would attempt those heights all his life. But his real achievement would be to make landscape the equal of history painting.
3. ^ "demography". world wide web.bbc.co.uk . Retrieved 14 February 2020.
4. ^ "Memorials of St Paul'southward Cathedral" Sinclair, Due west. p. 468: London; Chapman & Hall, Ltd; 1909.
5. ^ ^{a b} Shanes, Eric (2008). The life and masterworks of J.Thousand.Westward. Turner (quaternary ed.). New York: Parkstone Press. ISBN978-i-85995-681-six.
6. ^ Hamilton 2007, p. eight.
7. ^ Herrmann, Luke (October 2006). "Joseph Mallord William Turner". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/27854. (Subscription or United kingdom public library membership required.)
8. ^ ^{a b} Hamilton 2007, Affiliate 1.
9. ^ Backholer, Paul (1 March 2022). "The Bible, Art and J.M.W. Turner – The Painter of Light". Past Religion Media . Retrieved 3 March 2022. {{cite web}}: CS1 maint: url-status (link)
10. ^ Bailey, Anthony (1998). Standing in the sun: a life of J.Chiliad.Due west. Turner. London: Pimlico. p. 8. ISBN0-7126-6604-4. (Subscription required.)
11. ^ Brown, David Blayney (December 2012). "Joseph Mallord William Turner 1775–1851". In Brown, David Blayney (ed.). J.1000.W. Turner: Sketchbooks, Drawings and Watercolours. Tate Research Publications. ISBN978-1-84976-386-8 . Retrieved 10 March 2016.
12. ^ Turner in his Time, Andrew Wilton, H. N. Abrams Books, 1987, p. 45
13. ^ "] M W Turner – Connections with Brentford by Carolyn Hammond | Brentford & Chiswick Local History Club".
14. ^ ^{a b} Wilton, Andrew (2006). Turner in his fourth dimension (New ed.). London: Thames & Hudson. p. fourteen. ISBN978-0-500-23830-1.
15. ^ Wilton, Andrew (2006). Turner in his time (New ed.). London: Thames & Hudson. p. 15. ISBN978-0-500-23830-one.
16. ^ Thornbury, George Walter (1862). The life of J.M.W. Turner. p. 8.
17. ^ Hamilton, James (1997). "one". Turner : a life. London: Sceptre. ISBN0-340-62811-1.
18. ^ Thornbury, George Walter (1862). The life of J.M.W. Turner. p. 27.
19. ^ Finberg, A. J. (1961). The Life of J.M.Westward. Turner, R.A . Clarendon Press. p. 17.
20. ^ ^{a b} Hamilton 2007, Chapter two.
21. ^ Wilton, Andrew (2006). Turner in his time (New ed.). London: Thames & Hudson. p. 17. ISBN978-0-500-23830-1.
22. ^ Wilton, Andrew (2006). Turner in his time (New ed.). London: Thames & Hudson. p. 20. ISBN978-0-500-23830-one.
23. ^ Cunningham, Peter (27 December 1851). "Obituary of Turner". The Archives. pp. 17–18.
24. ^ Butlin, Martin; Joll, Evelyn (1984). The paintings of J.M.W. Turner (Rev. ed.). New Oasis: Yale Academy Press. ISBN978-0-300-03276-5.
25. ^ Wilton, Andrew (2006). Turner in his time (New ed.). London: Thames & Hudson. p. 27. ISBN978-0-500-23830-1.
26. ^ Wilton, Andrew (2006). Turner in his time (New ed.). London: Thames & Hudson. p. 28. ISBN978-0-500-23830-i.
27. ^ Roberts, Miquette (5 December 2012). The Unknown Turner. Tate. ISBN978-1-84976-386-viii . Retrieved fourteen July 2014.
28. ^ "Turner Biography & Chronology – The Turner Society" (PDF).
29. ^ "Collection Online: Snuff Box/box". British Museum.
30. ^ "Georgian Silver and Agate Pocket Snuff Box Inscribed 'Joseph Mallord William Turner' and the date '1785'". Finch & Co. Retrieved 3 September 2014.
31. ^ "Spectacles, drinking glass, snuffbox and cardcase of Turner 1775–1851". Philip Mould & Company. Retrieved three September 2014.
32. ^ ^{a b} Hamilton 2007, pp. 319–320.
33. ^ ^{a b} Hamilton 2007, p. 356.
34. ^ David Blayney Brownish, "Joseph Mallord William Turner 1775–1851," artist biography, December 2012, in David Blayney Brown, ed., J.M.West. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012.
35. ^ Davies, Norman (20 January 1998). Europe: A History. London: Pimlico. p. 687. ISBN978-0-06-097468-8 . Retrieved iii September 2014. (Subscription required.)
36. ^ Wilton, Andrew (6 November 2006). Turner in his Time (01 ed.). London: Thames and Hudson Ltd. ISBN978-0-500-23830-i.
37. ^ Thornbury, Walter (1862). The Life of J. M. W. Turner, R. A.: Founded on Letters and Papers Furnished by His Friends and Fellow Academicians. Hurst and Blackett. p. 418.
38. ^ (Piper 321)
39. ^ Wilkinson, Gerald (1974). The Sketches of Turner, R.A. London: Barrie & Jenkins.
40. ^ Imms, Matthew (December 2012). Brownish, David Blayney (ed.). J.Thousand.Westward. Turner: Sketchbooks, Drawings and Watercolours. Tate Gallery. ISBN978-1-84976-386-eight . Retrieved 3 September 2014.
41. ^ "The Turner Museum". The Turner Museum and Thomas Moran Galleries. Archived from the original on 16 February 2010. Retrieved 30 Baronial 2010.
42. ^ Piper 321
43. ^ Townsend, Joyce H. (1993). "The Materials of J. 1000. Westward. Turner: Pigments". Studies in Conservation. 38 (4): 231–254. doi:10.2307/1506368. JSTOR 1506368.
44. ^ Finlay, Victoria (2004). Color: A Natural History of the Palette. Random House Merchandise Paperbacks. pp. 134–135. ISBN0-8129-7142-6. (Subscription required.)
45. ^ "Colors That Fade: Turner'due south Masterpieces: Can his works exist saved?". The Daily News. 9 January 1930. p. 2. Retrieved 18 May 2014.
46. ^ Monkhouse, William Cosmo (1879). The Nifty Artists: J.M.West. Turner R.A. New York: Scribner and Welford. p. 121. Retrieved 3 September 2014.
47. ^ Herrmann, L. (23 September 2004). Vaughan, Henry (1809–1899), art collector. Oxford Lexicon of National Biography.
48. ^ "St. Mary's Church building Parish website". St Mary's Modern Stained Drinking glass
49. ^ "Joseph Mallord William Turner". City of Westminster. Archived from the original on 3 December 2013. Retrieved 3 September 2014.
50. ^ "Turner wins 'great painting' vote". BBC News. five September 2005. Retrieved 3 September 2014.
51. ^ "The Sun Is God (1974)". British Film Institute. Archived from the original on 21 November 2014. Retrieved 31 March 2015.
52. ^ Whaley, George (2009). Leo 'Rumpole' McKern: The Accidental Actor. UNSW Press. p. 181. ISBN978-1-921410-89-5 . Retrieved 31 March 2015.
53. ^ Kid, Ben (23 October 2012). "Timothy Spall to play JMW Turner in Mike Leigh biopic". The Guardian . Retrieved iii September 2014.
54. ^ "Mr. Turner". Motion-picture show 4. Retrieved 3 September 2014.
55. ^ "Polymer £20 annotation". Bank of England.
56. ^ Turner £twenty enters circulation

Sources [edit]

• Bailey, Anthony (1998). Continuing in the Lord's day: A Life of J. M. Due west. Turner. London: Pimlico. ISBN0-7126-6604-4.
• Finberg, A. J. (1961) [1939]. The Life of J. Chiliad. West. Turner, R.A. Oxford: Oxford University Press.
• Hamilton, James (2007). Turner. New York: Random House. ISBN978-0-8129-6791-3.
• Harrison, Colin (2000). Turner'southward Oxford. Oxford: Ashmolean Museum.
• Hill, David (2008). Turner and Leeds: Paradigm of Industry. Jeremy Mills Publishing.
• Moyle, Franny (2016). Turner: The Extraordinary Life and Momentous Times of J.M.W. Turner. Penguin/Random House. ISBN978-0-241-96456-9.
• Warburton, Stanley (2008). Discovering Turner'due south Lakeland. Lytham St Annes.
• Whittingham, Selby (1993–1996). An Historical Business relationship of the Will of J. Thousand. Westward. Turner, R.A. London: J. M. W. Turner, R.A., Publications.
• Wilton, Andrew (2006). Turner in His Fourth dimension (revised ed.). London: Thames & Hudson. ISBN978-0-500-23830-1.

Farther reading [edit]

• Ackroyd, Peter (2005). J. Thou. W. Turner. Ackroyd'due south Brief Lives (1st ed.). New York: Nan A. Talese. ISBN0-385-50798-4.
• Barker, Elizabeth East. "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. ISBN978-3-8228-6325-1.
• Hamilton, James (1998). Turner and the Scientists (1st publ ed.). London: Tate Publishing. ISBN978-one-85437-255-0.
• Butlin, Martin; Herrmann, Luke (2001). Joll, Evelyn (ed.). The Oxford Companion to J. M. W. Turner. Oxford: Oxford Univ. Printing. ISBN0-19-860025-ix.
• Singh, Iona (2012). J.M.W. Turner as Producer - chapter from the book Colour, Facture, Art & Blueprint pp. 129–152 (1st publ. ed.). Hampshire: Zero Books. ISBN978-i-78099-629-5.
• Townsend, Joyce (1993). Turner's Painting Techniques (1st publ. ed.). London: Tate Publishing. ISBN978-1-85437-202-four.
• Venning, Barry (2003). Turner (1st publ. ed.). Berlin: Phaidon Verlag GmbH. ISBN0-7148-3988-4.
• Williams, Roger (2018). A Twelvemonth of Turner and the Thames (1st publ. ed.). London: Bristol Book Publishing. ISBN978-0-9928466-ix-5.

See also [edit]

List of paintings by J.M.W. Turner

External links [edit]

• "Turner, Joseph Mallord William". Encyclopedia Americana. 1920.
• 400 artworks by or later on J. M. Due west. 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
• Sotheby'south 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. G. W. Turner, RA
• J.G.W. Turner exhibition catalogs
• Spider web site of the Tate Turner Collection, includes the "Turner Heritance" of over 300 Oil paintings and over 30,000 sketches. The catalogue holds records of over 40,000 works by Turner
• Works by J. Grand. Due west. Turner at Project Gutenberg
• Works by or about J. G. W. Turner at Internet Archive
• A Brief History of Abstruse Art with Turner, Mondrian and More than
• "Turner's Whaling Pictures" The Metropolitan Museum of Art Bulletin, five. 73, no. 4 (Spring, 2016)
• Johnson, Ken, "In Turner Paintings at the Met, the Bloody Business concern of Whaling," The New York Times, June 2, 2016

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Source: https://en.wikipedia.org/wiki/J._M._W._Turner