Nationality English Education Known for Paintings Movement Joseph Mallord William Turner (23 April 1775 – 19 December 1851), known as J. Turner and contemporarily as William Turner, was an English painter,. He is known for his expressive colourisations, imaginative and turbulent, often violent paintings. Turner was born in, London, to a modest lower middle-class family. He lived in London all his life, retaining his and assiduously avoiding the trappings of success and fame. A child prodigy, Turner studied at the from 1789, enrolling when he was 14, and exhibited his first work there at 21.
During this period, he also served as an architectural draftsman. He earned a steady income from commissions and sales, which due to his troubled, contrary nature, were often begrudgingly accepted. He opened his own gallery in 1804 and became professor of at the academy in 1807, where he lectured until 1828, although he was viewed as profoundly inarticulate. He traveled to Europe from 1802, typically returning with voluminous sketchbooks. Intensely private, and reclusive, Turner was a controversial figure throughout his career. He did not marry, but 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, especially after the death of his father, after which his outlook deteriorated, and his gallery fell into disrepair and neglect, and his art intensified.
He lived in near poverty circumstances and in poor health from 1845, and died in London in 1851 aged seventy-six. Turner is buried in, London. He left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 paper works. He had been championed by the leading English art critic from 1840, and is today regarded as having elevated landscape painting to an eminence rivalling. The house in where Turner was born, c.1850s Joseph Mallord William Turner was born on 23 April 1775 and baptised on 14 May. He was born in, in London, England. His father, William Turner (1745–21 September 1829), was a barber and wig maker.
His mother, Mary Marshall, came from a family of butchers. A younger sister, Mary Ann, was born in September 1778 but died in August 1783.
Turner's mother showed signs of mental disturbance from 1785 and was admitted to in Old Street in 1799 and was moved in 1800 to where she died in 1804. Turner was sent to his maternal uncle, Joseph Mallord William Marshall, in, then a small town on the banks of the west of London. The earliest known artistic exercise by Turner is from this period—a series of simple colourings of engraved plates from Henry Boswell's Picturesque View of the Antiquities of England and Wales. Around 1786, Turner was sent to on the north-east coast. There he produced a series of drawings of the town and surrounding area that foreshadowed his later work. By this time, Turner's drawings were being exhibited in his father's shop window and sold for a few shillings. His father boasted to the artist that: 'My son, sir, is going to be a painter'.
In 1789, Turner again stayed with his uncle who had retired to in Berkshire (now part of Oxfordshire). A whole of work from this time in Berkshire survives as well as a watercolour of Oxford.
The use of pencil sketches on location, as the foundation for later finished paintings, formed the basis of Turner's essential working style for his whole career. Many early sketches by Turner were architectural studies or exercises in perspective, and it is known that, as a young man, he worked for several architects including,. By the end of 1789, he had also begun to study under the topographical draughtsman, specialised in London views. Turner learned from him the basic tricks of the trade, copying and colouring outline prints of British castles and abbeys. He would later call Malton 'My real master'. Topography was a thriving industry by which a young artist could pay for his studies.
Royal Academy. 1839 Turner entered the of Art in 1789, aged 14, and was accepted into the academy a year later. Turner showed an early interest in architecture, but was advised by Thomas Hardwick to focus on painting. His first watercolour, A View of the Archbishop's Palace, Lambeth was accepted for the of 1790 when Turner was 15. As an academy probationer, Turner was taught drawing from plaster casts of antique sculptures.
From July 1790 to October 1793, his name appears in the registry of the academy over a hundred times. In June 1792, he was admitted to the life class to learn to draw the human body from nude models. Turner exhibited watercolours each year at the academy while painting in the winter and travelling in the summer widely throughout Britain, particularly to, where he produced a wide range of sketches for working up into studies and watercolours. These particularly focused on architectural work, which used his skills as a draughtsman. In 1793, he showed the watercolour titled The Rising Squall – Hot Wells from St Vincent's Rock Bristol (now lost), which foreshadowed his later climatic effects. Cunningham in his obituary of Turner wrote that it was: 'recognised by the wiser few as a noble attempt at lifting landscape art out of the tame insipidities.and evinced for the first time that mastery of effect for which he is now justly celebrated'. Exhibited in 1796 was the first oil painting exhibited by Turner at the Royal Academy.
In 1796, Turner exhibited, his first oil painting for the academy, of a nocturnal moonlit scene of off the, an image of boats in peril. Wilton said that the image: 'Is a summary of all that had been said about the sea by the artists of the 18th century.'
And shows strong influence by artists such as, and, who was admired for his moonlight marine paintings. This particular painting cannot be said to show any influence of, as not a single nocturnal scene is known by that painter. Some later work, however, was created to rival or complement the manner of the Dutch artist. The image was praised by contemporary critics and founded Turner's reputation, as both an oil painter and a painter of maritime scenes. Early career. 1840, Portrait of J. Turner, making his sketch for the celebrated picture of 'Mercury & Argus' (exhibited in 1836) Turner traveled widely in Europe, starting with France and Switzerland in 1802 and studying in in Paris in the same year.
He made many visits to Venice. Important support for his work came from of, near Otley in Yorkshire, who became a close friend of the artist. Turner first visited Otley in 1797, aged 22, when commissioned to paint watercolours of the area. He was so attracted to Otley and the surrounding area that he returned to it throughout his career.
The stormy backdrop of is reputed to have been inspired by a storm over in Otley while he was staying at Farnley Hall. Turner was a frequent guest of, at in 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 Canal. Petworth House still displays a number of paintings. Personal life As 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 as his studio assistant.
His father's death in 1829 had a profound effect on him, and thereafter he was subject to bouts of depression. He never married but had a relationship with an older widow, Sarah Danby (1760—1861). He is believed to have been the father of her two daughters Evalina Dupois (1801—1874) and Georgiana Thompson (1811—1843). Turner formed a relationship with Sophia Caroline Booth (1798—1875) after her second husband died, and he lived for about 18 years as 'Mr Booth' in her house in. Turner was a habitual user of; in 1838, presented a gold to him. Of two other snuffboxes, an and silver example bears Turner's name, and another, made of wood, was collected along with his spectacles, magnifying glass and card case by an associate housekeeper.
Death Turner died of at the home of Sophia Caroline Booth, in in Chelsea, on 19 December 1851. He is buried in, where he lies near to Sir. Apparently his last words were 'The Sun is God', though this may be apocryphal. Turner's friend, the architect (1792–1870), son of his 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 you, we have lost him.' Other executors were his cousin and chief mourner at the funeral, Henry Harpur IV (benefactor of ), Revd. Henry Scott Trimmer,.
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Unsourced material may be challenged and removed. (December 2017) Turner's talent was recognised early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterised by a chromatic palette and broadly applied atmospheric washes of paint. According to David Piper's The Illustrated History of Art, his later pictures were called 'fantastic puzzles'. Turner was recognised as an artistic genius: the influential English art critic described him as the artist who could most 'stirringly and truthfully measure the moods of Nature'. Turner's work drew criticism from contemporaries, in particular from, a landscape painter and fellow member of the Royal Academy, who described his paintings as 'blots'.
Turner's imagination was sparked by shipwrecks, fires (including the in 1834, an event which Turner witnessed first-hand, and transcribed in a series of watercolour sketches), and natural phenomena such as sunlight, storm, rain, and fog. He was fascinated by the violent power of the sea, as seen in Dawn after the Wreck (1840) and (1840).
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Turner's major venture into printmaking was the (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 's (Book of Truth), where Lorrain had recorded his completed paintings; a series of print copies of these drawings, by then at, had been a huge publishing success.
Turner's plates were meant to be widely disseminated, and categorised the genre into six types: Marine, Mountainous, Pastoral, Historical, Architectural, and Elevated or Epic Pastoral. His printmaking was a major part of his output, and a museum is devoted to it, the Turner Museum in, founded in 1974 by Douglass Montrose-Graem to house his collection of Turner prints.
Turner's early works, such as (1795), stayed true to the traditions of English landscape. However, in (1812), an emphasis on the destructive power of nature had already come into play. His distinctive style of painting, in which he used watercolour technique with oil paints, created lightness, fluency, and ephemeral atmospheric effects. 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, where the objects are barely recognisable. The intensity of hue and interest in evanescent light not only placed Turner's work in the vanguard of English painting but exerted an influence on art in France; the, particularly, carefully studied his techniques. High levels of volcanic ash (from the eruption of ) in the atmosphere during 1816, the ', led to unusually spectacular sunsets during this period, and were an inspiration for some of Turner's work.
Said that an early patron, Principal Physician of, 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, 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-estimate. Together with a number of young artists, Turner was able, in the London house of Dr. Monro, 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 the watercolours of, some of which were present in Monro's house, went far further than the neat renderings of topography. The solemn grandeur of his Alpine views were an early revelation to the young artist and showed him the true potential of the watercolour medium, conveying mood instead of information. Materials Turner experimented with a wide variety of pigment.
He used pigments like, 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. John Ruskin complained at how quickly his work decayed; Turner was indifferent to posterity and chose materials that looked good when freshly applied. By 1930, there was concern that both his oils and his watercolours were fading. Gallery of works.
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