Joseph Mallord William Turner 1775 to 1851 Father of Impressionism
One of my favourite artists is that great English artist Joseph Turner who was the Father of Impressionism and the first Impressionist Painter in the world. The following letter explains all: “A group of French painters, united in the same aesthetic aims…applying themselves with passion to the rendering of form in movement as well as the fugitive phenomena of light, cannot forget that they have been preceded in this path by a great master of the English, the illustrious Turner.” (from a letter signed by Monet, Pissarro, Degas, Renoir, and others). J.M.W. Turner was also an English Romantic landscape painter whose expressionistic studies of light, colour, and atmosphere were unmatched in their range and sublimity.
Turner was the son of a barber. At age 10 he was sent to live with an uncle at Brentford, Middlesex, where he attended school. Several drawings dated as early as 1787 are sufficiently professional to corroborate the tradition that his father sold the boy’s work to his customers. Turner entered the Royal Academy schools in 1789 and soon began exhibiting his watercolours there.
From 1792 he spent his summers touring the country in search of subjects, filling his sketchbooks with drawings to be worked up later into finished watercolours. His early work is topographical (concerned with the accurate depiction of places) in character and traditional in technique, imitating the best English masters of the day.
In 1794 Turner began working for engravers, supplying designs for the Copper Plate Magazine and the Pocket Magazine. He was also employed to make copies or elaborations of unfinished drawings by the recently deceased landscape painter John Robert Cozens. The influence of Cozens and of the Welsh landscape painter Richard Wilson helped broaden Turner’s outlook and revealed to him a more poetic and imaginative approach to landscape, which he would pursue to the end of his career with ever-increasing brilliance.
From 1796 Turner exhibited oil paintings as well as watercolours at the Royal Academy. The first, Fishermen at Sea (1796), is a moonlight scene and was acclaimed by a contemporary critic as the work “of an original mind.” In 1799, at the youngest permitted age (24), Turner was elected an associate of the Royal Academy and in 1802 he became a full academician, a dignity he marked by a series of large pictures in which he emulated the achievements of the Old Masters, especially the 17th-century painters Nicolas Poussin, Claude Lorrain, Albert Cuyp and Willem van de Velde the Younger. In 1807 he was appointed professor of perspective.
Turner was perhaps the greatest landscapist of the 19th century. Although brought up in the academic traditions of the 18th century, he became a pioneer in the study of light, colour, and atmosphere. He anticipated the French Impressionists in breaking down conventional formulas of representation; but, unlike them, he believed that his works should always express significant historical, mythological, literary, or other narrative themes. A line of development can be traced from his early historical landscapes that form settings for important human subjects to his later concentration on the dramatic aspects of sea and sky.
Even without figures, these late works are expressions of important subjects: the relationship of man to his environment, the power of nature as manifested in the terror of the storm or the beneficence of the sun. Unmatched in his time in the range of his development, Turner was also unrivaled in the breadth of his subject matter and the searching innovation of his stylistic treatment.
Turner died in Chelsea in 1851 and was buried in St. Paul’s Cathedral. By his will he intended to leave most of his fortune of £140,000 to found a charity for “decayed artists,” and he bequeathed his finished paintings to the National Gallery, on condition that a separate gallery be built to exhibit them. As a result of protracted litigation with his rather distant relatives, most of the money reverted to them, while both finished and unfinished paintings and drawings became national property as the Turner Bequest. It was not until 1908 that a special gallery was built by Sir Joseph Duveen to house some of the oil paintings at the Tate Gallery. All the drawings and watercolours were transferred to the British Museum for safety after the River Thames flood of 1928, when the storerooms at the Tate Gallery were inundated, but they were returned to the Tate Gallery on the opening of the Clore Gallery, an addition designed by James Stirling expressly for that purpose, in 1987. A few of the oil paintings still remain at the National Gallery.
In 2005, Turner’s The Fighting Temeraire was voted Britain’s “greatest painting” in a public poll organised by the BBC.
Please visit my Joseph Turner Art Prints Collection:
http://www.fabprints.com/TURNER.html
My other website is called Directory of British Icons: http://fabprints.webs.com
The Chinese call Britain ‘The Island of Hero’s’ which I think sums up what we British are all about. We British are inquisitive and competitive and are always looking over the horizon to the next adventure and discovery.
Copyright © 2011 Paul Hussey. All Rights Reserved.
About the Author
I have recently decided to write articles on my favourite subjects: English Sports, English History, English Icons, English Discoveries and English Inventions.
At present I have written many articles which I call “An Englishman’s Favourite Bits Of England” as various chapters.
The Chinese call Britain ‘The Island of Hero’s’ which I think sums up what we British are all about. We British are inquisitive and competitive and are always looking over the horizon to the next adventure and discovery.
Please visit my Blogs page http://Bloggs.Resourcez.Com where I have listed my most recent articles to date.
Copyright © 2011 Paul Hussey. All Rights Reserved.
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Joseph Mallord William Turner
