Bad Dudes Essay Research Paper TURNERJoseph Mallord

Bad Dudes Essay, Research Paper

TURNER

Joseph Mallord William Turner, the son of a barber and wigmaker, was born in London in 1775. As a child Turner made money by colouring engravings for his father’s customers. At the age of 14 he entered the Royal Academy. He exhibited his first drawing, A View of the Archbishop’s Palace in Lambeth in 1790. Two years later he providing illustrations for the Copperplate Magazine and the Pocket Magazine.

In 1792 Turner went on his first sketching tour. Most of his pictures during this period were cathedrals, abbeys, bridges and towns but in 1796 he became interested in painting pictures of the sea. He also began touring with his artist friend, Thomas Girton.

By 1800 Turner was acknowledged as one of Britain’s leading topographical watercolorist. He received several commissions to illustrate books. His artistic ability was recognized when he was elected an associate of the Royal Academy.

In 1803 Turner’s style changed. His impressionistic Calais Pier was criticized as being unfinished. For the next few years the critics attacked him and he had difficulty selling his paintings. One critic called Turner’s landscapes “pictures of nothing, and very alike.” Turner had his supporters, including John Ruskin, who described his paintings as “true, beautiful and intellectual”.

In 1844 Turner turned his attention to railways and painted Rain, Steam and Speed – The Great Western Railway. J. M. W. Turner died at his cottage in Chelsea in 1851. He left some three hundred paintings and nineteen thousand watercolors to the nation.

Joseph Mallord William Turner enjoys a reputation as one of the finest landscape painters in English history. The son of a London barber, Turner was born on April 23, 1775. His mother died when he was still young, and young Joseph received only the most rudimentary of education from his father.

From early childhood, Turner poured his energies into drawing, and later painting. By the age of 13, he was exhibiting paintings in the window of his father’s barbershop. The child prodigy was rewarded when one of his paintings was shown at the Royal Academy – a remarkable honor for a lad of just 15! At 18 Turner established his own studio, and he was made a full member of the Royal Academy in 1802.

Turner’s artistic education continued during extended travels abroad. He was captivated by the seascapes of Venice, and devoted his energies to capturing the changing patterns of light and colour on the water.

Although Turner worked extensively in oils, it is as a watercolourist that he is famous. He can be rightly regarded as one of the founding fathers of English watercolour landscape painting.

One of Turner’s unique qualities is that he did not attempt to reproduce what he saw, but rather he tried to paint what he felt about a scene. In this he can be considered an early “Impressionist” painter. His best works exhibit a glorious, hazy wash of light, with shapes merely suggested through the light.

Despite popular acceptance of his work, Turner was a reclusive man, with few friends. He always worked alone and travelled alone. He would exhibit his paintings, but he often refused to sell them. When he did sell a work, he plunged into depression.

The Junction of the Thames and the Medway, 1807. JMW Turner died on December 19, 1851, and at his own request he was buried in St. Paul’s Cathedral. His remarkable collection of over 300 paintings, 20,000 watercolors, and 19,000 drawings were bequeathed to the nation. The Clore Gallery at the Tate Gallery was opened in 1987 to display this collection, according to the terms of his will.

Some of his most enduring works are Burial at Sea, and The Grand Canal, Venice.

Turner, who earned an early reputation for producing accurate topographical views, opened his own private sales gallery, where he exhibited this turbulent seascape. Based on notes in the artist’s sketchbooks, the scene is the wide mouth of the Thames joining the North Sea, where the smaller River Medway further churns the waves. To the south, the town on the far shore is the seaport of Sheerness.

To heighten the storm’s impact, Turner artfully manipulated the lighting in this composition. The sails at the right, for instance, are brilliantly silhouetted against the dark clouds. In actuality, however, the sun is obscured high in the sky behind the thunderheads, making it impossible for sunbeams to strike those ships from the side.

Rotterdam Ferry-Boat, 1833. This seascape was exhibited in 1833 at the Royal Academy, where Turner taught as the professor of perspective. Conquering the problem of creating a believable sense of space across a featureless expanse of water, Turner anchored the carefully aligned design upon a small passenger ferry. From this foreground focus, a row of larger ships moves backward over the choppy waves on a diagonal line, generating a remarkable illusion of depth. The warship’s Dutch flags and the skyline of Rotterdam pay tribute to Turner’s predecessors, the marine painters of seventeenth-century Holland. In particular, the low horizon and cloud-swept vista derive from harbor scenes by Jan van Goven and Aelbert Cuyp.

Venice: The Dogana and San Giorgio Maggiore, 1834. At the “especial suggestion” of a British textile manufacturer, Turner devised this Venetian citys

Внимание, отключите Adblock

Вы посетили наш сайт со включенным блокировщиком рекламы!
Ссылка для скачивания станет доступной сразу после отключения Adblock!

Скачать