Turner
first built his reputation with dramatic sea-pictures like Calais Pier, and the
violence of the elements held a life-long fascination for him, inspiring such
masterpieces as Hannibal in the Alps. A gentler aspect of Turner's art his
experimentation with delicate effects of light and atmosphere is illustrated by
a later painting, Norham Castle, Sunrise.
The
abstract, unfinished quality of this bemused Turner's contemporaries. But the patriotic
Fighting Temeraire, painted for exhibition at the Royal Academy, was
universally admired, although the critics noticed that Turner's colour was
becoming more dramatic and symbolic.
From
1840, light and colour became the real subject-matter of Turner's paintings.
His atmospheric views of Venice show why the city had been called 'the
birthplace and theatre of colour'. And in Rockets and Blue Lights, Turner's
extravagant use of blues and yellows proved quite shocking. The critics were
never sure whether to applaud or deplore his originality.
Side by
side with these imposing oil paintings, Turner made an enormous number of water
colours. The quiet intimacy of a work like Dawn after the Wreck contrasts
markedly with the dynamism of Rain, Steam and Speed, one of Turner's late
masterpieces. Here, Turner has transformed a personal experience into an
imaginative vision.
This
picture of the cross-channel ferry arriving at Calais was based on Turner's own
experience of a hair-raising landing on his journey to the continent in 1802
his first visit abroad. He recorded the whole episode in the sketchbook, with
an inscription reading: 'Our landing at Calais. 
The
legendary exploits of Hannibal, the Carthaginian general who marched across the
Alps to attack ancient Rome, were a popular theme for Romantic painters. But
for this picture Turner's inspiration came from nature, not history he had
witnessed a violent snow storm in Yorkshire a year or two before.
The
castle itself on a cliff overlooking the river Tweed on the Scottish border can
scarcely be seen in this painting. It appears in the distance as a hazy blue
mass, seen dimly through the mists of a pale yellow sunrise. The painting is as
delicate as a water-colour, but may not in fact be finished, since Turner never
exhibited it.
Turner
was 65 when he painted this view of Venice. It combines strict architectural
accuracy with poetic colouring the buildings shimmer magically in a silver haze
beyond the golden reflections of the fagot.
0 Response to "British Great Artist - Josep Turner Painting Gallery"
Post a Comment