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Paintings , Drawings

The Evening Of The Deluge Painting - The Evening Of The Deluge by Joseph Mallord William Turner

The Evening Of The Deluge

Joseph Mallord William Turner Painting - Sunset Over Water by Joseph Mallord William Turner

Sunset Over Water

Dido Building Carthage Painting - Dido Building Carthage by Joseph Mallord William Turner

Dido Building Carthage

Joseph Mallord William Turner Painting - Margate From The Sea by Joseph Mallord William Turner

Margate From The Sea

Joseph Mallord William Turner Painting - The Parting Of Hero And Leander by Joseph Mallord William Turner

The Parting Of Hero And Leander

Joseph Mallord William Turner Painting - Calais Pier by Joseph Mallord William Turner

Calais Pier

Ulysses Deriding Polyphemus. Homers Odyssey Painting - Ulysses Deriding Polyphemus. Homers Odyssey by Joseph Mallord William Turner

Ulysses Deriding Polyphemus. Homers Odyssey

Sun Rising Through Vapour Painting - Sun Rising Through Vapour by Joseph Mallord William Turner

Sun Rising Through Vapour

Heidelberg with a Rainbow

Heidelberg with a Rainbow

A Swiss Lake, Lungernzee

A Swiss Lake, Lungernzee

Sunset over Water

Sunset over Water


Calais Pier


Margate, from the Sea


Rain, Steam, and Speed - The Great Western Railway


Sun Rising through Vapour


The Evening Star


The Fighting Temeraire


The Parting of Hero and Leander

Evening Landscape

Beginnings with color: The pink sky


View of Orvieto


Lake Avernus : Aeneas and the Cumaean Sibyl


Bellinzona from South


Bonneville Savoy with Mont Blanc


Buttermere Lake with partial view of Cromackwater


Grand Canal in Venice

Castle of Kilgarran on Twyvey


The Forum Romanum, for Mr Soane's Museum


The Burning of the Houses of Parliament


The burning of the parliament building , 16 October 1834


Lake Geneva view from Montreux


The large channel connection at Southall Mill


The Park Petworth


The lake


The Lake Lucerne


The Forest of Bere


The Bay of Baiae , with Apollo and the Sybil


The Chain Pier Brighton


The fifth plague of Egypt ( The Plague)


The last voyage of the " Fighting Temeraire "


The last voyage of the " Fighting Temeraire " , detail


The pier of Calais


The north gallery


The Peter church from the south


The Battle of Trafalgar

The Devil's Bridge, St. Gotthard


Dogana and Santa Maria della Salute, Venice


Dorchester Mead , Oxfordshire


The steamer in the doldrums


A bed : drapery study


Fishermen from Shoeburyness


A stranded ship


A salon


A salon


one bedroom


A sailing yacht approaches the Coast


Rocky bay with classical figures


Fire on the Sea


Fishing at Blythe - sand, the tide begins


Fishermen on the sea


Frosty Morning


Building


House on the river with trees and sheep


Hero and Leander's farewell


Dutch Boats in a Storm


Honfleur


In the morning mist rising sun


Interior in Petworth House


Italian Landscape


Now for the painter , passengers go on board


Cologne, View from the southeast


Cologne , Great St. Martin , Town Hall and Cathedral from the Rhine


Cologne , Southern portion of the banks of the Rhine with the arrival of a mail ship


Flares in high seas


Light and Color : The Morning after the Deluge


Painter at the easel


Mercury and Herse


Morning in the Corniston Fells , Cumberland


Morning after the shipwreck


Mortlake Terrace


Music Society , Petworth


Lake Nemi


Norham Castle at Sunrise


Norham Castle at Sunrise , detail


Old London Brige


Paestrum by storm


Palistrina composition


Pethworth Sussex, dewy morning


Phryne visits as Venus the public baths


Pilate washes his hands


Raby Castle, the residence of the Earl of Darlington


Rain, Steam and Speed


Regulus


Rome, seen from the Vatican


Shade and Darkness : The evening before the flood


Shipwreck


Ship traffic in front of the headland of East Cowes


The flotilla sailing to windward


The Regatta Starting for their Moorings


Castle Saint- Michel, Bonneville , Savoy


Hannibal and his army cross the Alps


Snow storm off the harbor entrance


Self Portrait , detail


Summer Hill near Tunbridge


Beach of Calais at low tide


Thomson's Aeolian Harp


Doorway of a mansion


Turner in his studio


Crossing the brook


Venice


Venice. View of " Piazzetta "


Venice building


Venice , San Benedetto , view of Fusina


Venice , seen from the Giudecca Canal


Walton Reach


Ships Bearing up for Anchorage


Two women and a letter

A Beech Wood with Gipsies Round a Camp Fire

A Beech Wood with Gipsies Seated in the Middle Distance

A Bridge with a Cottage and Trees beyond

A Cloudy Sky

A Coast Scene with Fishermen Hauling a Boat Ashore

A Disaster at Sea

A Distant Castle with Poplar Trees beside a River

A Sailing Boat off Deal

A View in the Domleschg Valley, Switzerland

Abingdon from the Thames Navigation

Addingham Mill on the River Wharfe, Yorkshire

An Old Church.

Ancient Italy - Ovid banished from Rome

Ancient Rome - Agrippina Landing with the Ashes of Germanicus

Angers - The Walls of Doutre with the Tower of the Church of La Trinite

Antiquities of Pola

Antwerp - Van Goyen Looking Out for a Subject

Approach to Venice

Arch of Constantine, Rome

Arno, A Villa Among Trees and Bushes

Autumn Morning near Foothill, Wiltshire

Aysgarth Force, Richmondshire

Barge on the River, Sunset

Basle

Bellinzona

Ben Arthur, Scotland

Berncastle (Oberwesel)

Berry Pomeroy Castle (Raglan Castle)

Boat on a Rough Sea

Bonneville

Bonneville, Savoy

Bonneville, Savoy, with Mont Blanc

Bonneville, Savoy

Bridge and Cows, from Liber Studiorum, part I

Bridge and Goats

Bridge of Sighs, Ducal Palace and Custom-House, Venice

Bright Stone of Honour and Tomb of Marceau, from Byron's Childe Harold

Brussels, A Distant View

Burg Rheinfels on the Rhine

Burg Sooneck on the Rhine, Germany

Calais Sands, Low Water, Poissards Collecting Bait

Caligula's Palace and Bridge

Carthage

Chatel Argent and the Val d'Aosta from above Villeneuve

Chelsea Hospital,

Chepstow Castle

Chester Bridge

Chichester Canal

Childe Harold's Pilgrimage - Italy

Christ Driving the Traders from the Temple

Cicero at his Villa

Cliveden on Thames

Coast Scene near Naples

Coast Scene with Buildings

Coast Scene, with Boat in the Foreground - near Dover

Coastal View at Sunset with Fishing Boat Returning to Port

Coblenz

Cochem on the Mosel

Colchester

Cologne - The Arrival of a Packet-Boat, Evening

Confluence of the Thames and the Medway

Conway Castle, North Wales

Crook of Lune, Looking towards Hornby Castle

Dartmouth Cove

Dawn of Christianity (Flight into Egypt)

Dido Building Carthage

Dieblich on the Mosel

Distant View of Barden Tower on the Rver Wharfe, West Riding, Yorkshire

Dover Castle from the Sea

Dunotter Castle, Kincardineshire

Dunstaffnage

Dunstanborough Castle

Eddystone Lighthouse

Entrance of the Meuse

Eu, The Church of Notre-Dame and Saint-Laurent

Europa and the Bull

Evening Landscape with a Tower and Bridge

Evening Landscape, probably Chichester Canal

Fall of the Rhine at Schaffhausen

Fall of the Tees, Yorkshire

Falls of the Clyde

Falls of the Rhine at Schaffhausen - Distant View

Farmyard

Fifth Plague of Egypt

Figures on a Beach

Fire at Sea

Fish Market on the Sands

Fishing Boat in a Mist

Fishing Boats Entering Calais Harbor.

Fishing Boats with Hucksters Bargaining for Fish

Fishing upon the Blythe-Sand

Flint Castle, North Wales

Florence from the Ponte alla Carraia

Fontainebleau -The Departure of Napoleon

Fort of L`Essillon, Val de la Maurienne, France

Forum Romanum

Fountain of Indolence

Fox Lugger

From Spencer's Faerie Queen

George IV at the Provost's Banquet in the Parliament House, Edinburgh

Giudecca, la Donna della Salute and San Georgio

Glaucus and Scylla

Golden Bough

Goring Mill and Church

Haddon Hall near Bakewell, Derbyshire

Harbour of Dieppe (Changement de Domicile)

Harbour with Town and Fortress

Head of a Girl

Heaped Thundercloud over Sea and Land

Holy Island Cathedral

Interior of Salisbury Cathedral

Inverary Castle and Town, Scotland

Isis

Italian Landscape with Bridge and Tower

Jason

Jedburgh Abbey

Jessica

Juliet and her Nurse

Keelmen Heaving in Coals by Moonlight

King Edgar's Gate, Worcester

Kirkby Lonsdale Churchyard

Lake of Lucerne from Brunnen

Lake of Lucerne

Lake of Thun, Swiss

Lake, Petworth, Sunset

Lanberis Pass, North Wales

Landscape with a River and a Bay in the Background

Lanthony Abbey, Monmouthshire

Lanthony Abbey, Monmouthshire

Le Havre - Sunset

Life-Boat and Manby Apparatus going off to a Stranded Vessel making Signal of Distress

Light and Color - Moses Writing the Book of Genesis

Little Devil's Bridge over the Russ, above Altdorft, Swiss

Llangollen, Denbighshire, Wales

London from Greenwich Park

London from Greenwich

Low Sun and Clowds over a Calm Sea

Lowestoffe Lighthouse

Lucerne from the Lake

Lurleiberg

Malmesbury Abbey

Margate Harbour

Margate, from the Sea

Marine Dabblers

Martello Towers, near Bexhill, Sussex

Martinswand, near Innsbruck

Matlock

Mer de Glace, Chamonix, with Blair's Hut

Mer de Glace, Valley of Chamouni, Savoy

Mercury and Argus

Mill near the Grand Chartreuse, Dauphiny

Modern Italy - The Pifferari

Modern Rome - Campo Vaccino

Mont Blanc, from above Courmayeur

Moonlight on Lake Lucerne with the Rigi in the Distance, Switzerland

Morning amongst the Coniston Fells, Cumberland

Morpeth North

Mortlake Terrace, Early Summer Morning

Mortlake Terrace, the Seat of William Moffat, Summer's Evening

Mount Moriah, Jerusalem

Mount Pilatus from across the Lake of Lucerne

Mountain Landscape

Mt. St. Gothard

New Moon

Nicholas Poussin's Birthplace

Norbury Park, Surrey

Norham Castle on the Tweed

Norham Castle, Sunrise

Oberhofen, Lake Thun

Oberwesel on the Rhine

Off Yarmouth - A Steamship off the Coast in Rough Weather

Old Welsh Bridge, Shrewsbury, Shropshire

On the Medway

On the Mosel - Bernkastel, Kues and The Landshut, Germany

On the Upper Rhine

Ostende

Oyster Beds at Whitstable, Kent

Paris - Hotel de Ville

Peace - Burial at Sea

Peat Bog, Scotland

Pembury Mill, Kent

Perspective View of Fonthill Abbey from the South-West

Queen Mab's Grotto

Quillebeuf, at the Mouth of Seine

Rainbow

Red Sky over a Beach

Remagen, Erpel and Linz

Richmond Hill, on the Prince Regent's Birthday

Rivaux Abbey, Yorkshire,

River Scene (Fort on a Rock above a River)

River Scene with Weir in the Middle Distance

River Wye

Rochester on the Medway

Rome from Monte Mario

Rome, from Mount Aventine

Rosslyn Castle

Rotterdam Ferry Boat

Saint Mary's Church, Nottingham

Saltash with the Water Ferry

Saltwood Castle, Hythe, Kent

Santa Maria della Salute and Dogana

Scene on the French Coast,

Seascape with Storm Coming on

Self Portrait

Self-Portrait

Shipping at the Mouth of the Thames

Shipping off the Coast, near Dover

Ships in a Breeze

Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On)

Snow Storm - Hannibal and his Army Crossing the Alps

Snow Storm - Steam Boat off a Harbor's Mouth Making Signals in Shallow Water

Solway Moss

Source of the Arveron in the Valley of Chamouni, Savoy

South Gate of Sargans

St Goarshausen and Katz Castle

St Mary's Church, Dover

St. Erasmus in Bishop Islips Chapel, Westminster Abbey

Storm at the Mouth of the Grand Canal, Venice

Storm on Margate Sands

Story of Apollo and Daphne

Study of Chepstow Castle


Dazio Grande


Joseph Mallord William Turner RA (23 April 1775[1]–19 December 1851) was an English Romantic landscape painter, watercolourist and printmaker. Turner was considered a controversial figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivalling history painting.[2] Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting. He is commonly known as "the painter of light"[3] and his work regarded as a Romantic preface to Impressionism.
Contents




Biography
An engraving of a sketch by Turner depicting Brougham Castle. The sketch, made during a visit to the castle in 1809, provided the starting point for a later watercolour.
The Fighting Temeraire tugged to her last berth to be broken up, 1839.
The shipwreck of the Minotaur, oil on canvas.

Turner was born in Maiden Lane, Covent Garden, London, England. His father, William Turner (1738–7 August 1829), was a barber and wig maker.[4] His mother, Mary Marshall, became increasingly mentally unstable, possibly due in part to the early death of Turner's younger sister, Mary Ann Turner, in 1786. Mary Marshall died in 1804, after having been committed in 1799 to St Luke's Hospital and then to the Bethlem Royal Hospital, a mental asylum otherwise known as 'Bedlam'.

Possibly due to the load placed on the family by these problems, the young Turner was sent to stay with his maternal uncle, Joseph Mallord William Marshall, in Brentford in 1785, which was then a small town west of London on the banks of the River Thames. It was here that he first expressed an interest in painting. A year later he attended a school in Margate on the north-east Kent coast. By this time he had created many drawings, which his father exhibited in his shop window.

He entered the Royal Academy of Art schools in 1789, when he was only 14 years old,[5] and was accepted into the academy a year later. Sir Joshua Reynolds, president of the Royal Academy, chaired the panel that admitted him. At first Turner showed a keen interest in architecture but was advised to continue painting by the architect Thomas Hardwick (junior). A watercolour by Turner was accepted for the Summer Exhibition of 1790 after only one year's study. He exhibited his first oil painting in 1796, Fishermen at Sea, and thereafter exhibited at the academy nearly every year for the rest of his life.

Turner travelled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year. He also made many visits to Venice. On a visit to Lyme Regis, in Dorset, England, he painted a stormy scene (now in the Cincinnati Art Museum).

Important support for his work also came from Walter Ramsden Fawkes, of Farnley Hall, 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 through his career. The stormy backdrop of Hannibal Crossing The Alps is reputed to have been inspired by a storm over Otley's Chevin while Turner was staying at Farnley Hall.

Turner was also a frequent guest of George O'Brien Wyndham, 3rd Earl of Egremont at Petworth House 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.

As he grew older, Turner became more eccentric. He had few close friends except for his father, who lived with him for thirty years, eventually working 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, although his two daughters by Sarah Danby were born in 1801 and 1811.

He died in the house of his mistress Sophia Caroline Booth in Cheyne Walk, Chelsea on 19 December 1851. He is said to have uttered the last words "The sun is God" before expiring.[6] At his request he was buried in St Paul's Cathedral, where he lies next to Sir Joshua Reynolds. His last exhibition at the Royal Academy was in 1850.

The architect Philip Hardwick (1792–1870) who was a friend of Turner's and also the son of the artist's tutor, Thomas Hardwick, was in charge of making his 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 active executors were his cousin and executor, 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.

Style

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." However, Turner was still recognised as an artistic genius: the influential English art critic John Ruskin described Turner as the artist who could most "stirringly and truthfully measure the moods of Nature." (Piper 321)

Suitable vehicles for Turner's imagination were to be found in the subjects of shipwrecks, fires (such as the burning of Parliament in 1834, an event which Turner rushed to witness first-hand, and which he transcribed in a series of watercolour sketches), natural catastrophes, 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 The Slave Ship (1840).

Turner's major venture into printmaking was the Liber Studiorum (Book of Studies), a set of seventy prints that the artist worked on from 1806 to 1819. The Liber Studiorum was an expression of his intentions for landscape art. Loosely based on Claude Lorrain's Liber Veritatis (Book of Truth), the plates were meant to be widely disseminated, and categorised the genre into six types: Marine, Mountainous, Pastoral, Historical, Architectural, and Elevated or Epic Pastoral.[7] His printmaking was a major part of his output, and a whole museum is devoted to it, the Turner Museum in Sarasota, Florida, founded in 1974 by Douglass Montrose-Graem to house his collection of Turner prints.[8]

Turner placed human beings in many of his paintings to indicate his affection for humanity on the one hand (note the frequent scenes of people drinking and merry-making or working in the foreground), but its vulnerability and vulgarity amid the 'sublime' nature of the world on the other hand. 'Sublime' here means awe-inspiring, savage grandeur, a natural world unmastered by man, evidence of the power of God–a theme that artists and poets were exploring in this period. The significance of light was to Turner the emanation of God's spirit and this was why he refined the subject matter of his later paintings by leaving out solid objects and detail, concentrating on the play of light on water, the radiance of skies and fires. Although these late paintings appear to be 'impressionistic' and therefore a forerunner of the French school, Turner was striving for expression of spirituality in the world, rather than responding primarily to optical phenomena.
Rain, Steam and Speed - The Great Western Railway painted (1844).

His early works, such as Tintern Abbey (1795), stayed true to the traditions of English landscape. However, in Hannibal Crossing the Alps (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. (Piper 321)

One popular story about Turner, though it likely has little basis in reality, states that he even had himself "tied to the mast of a ship in order to experience the drama" of the elements during a storm at sea.[9]

In his 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 Rain, Steam and Speed - The Great Western Railway, where the objects are barely recognizable. The intensity of hue and interest in evanescent light not only placed Turner's work in the vanguard of English painting, but later exerted an influence upon art in France, as well; the Impressionists, particularly Claude Monet, carefully studied his techniques.
Chichester Canal's vivid colours may have been influenced by the eruption of Mount Tambora in 1815.

High levels of ash in the atmosphere during 1816 the "Year Without a Summer", led to unusually spectacular sunsets during this period, and were an inspiration for some of Turner's work.

John Ruskin says in his "Notes" on Turner in March 1878, that an early patron, Dr Thomas Monro, the Principal Physician of Bedlam, 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 Giston, 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.

On one of his trips to Europe he met the Irish physician Robert James Graves. 'Graves was travelling in a diligence in the Alps when a man who looked like the mate of a ship got in, sat beside him, and soon took from his pocket a note-book across which his hand from time to time passed with the rapidity of lightning. Graves wondered if the man was insane, he looked, saw that the stranger had been noting the forms of clouds as they passed and that he was no common artist. The two travelled and sketched together for months. Graves tells that Turner would outline a scene, sit doing nothing for two or three days, then suddenly, 'perhaps on the third day he would exclaim 'there it is', and seizing his colours work rapidly till he had noted down the peculiar effect he wished to fix in his memory.'
Wreckers Coast of Northumberland, painted ca. 1836. Yale Center for British Art

The first American to buy a Turner painting was James Lenox of New York City, a private collector. Lenox wished to own a Turner and in 1845 bought one unseen through an intermediary, his friend C. R. Leslie. From among the paintings Turner had on hand and was willing to sell for £500, Leslie selected and shipped the 1832 atmospheric seascape Staffa, Fingal's Cave.[10] Worried about the painting's reception by Lenox, who knew Turner's work only through his etchings, Leslie wrote Lenox that the quality of Staffa, "a most poetic picture of a steam boat" would become apparent in time. Upon receiving the painting Lenox was baffled, and "greatly disappointed" by what he called the painting's "indistinctness". When Leslie was forced to relay this opinion to Turner, Turner said "You should tell Mr. Lenox that indistinctness is my forte." Staffa, Fingal's Cave is currently owned by the Yale Center for British Art, New Haven, Connecticut.

Legacy
J.M.W. Turner, Calais Pier

Turner left a small fortune which he hoped would be used to support what he called "decayed artists". He planned and designed an almshouse for them at Twickenham with a gallery for some of his works. His will was contested and in 1856, after a court battle, part of his fortune was awarded to his first cousins including Thomas Price Turner.[11] Another portion of the money went to the Royal Academy of Arts, which does not now use it for this purpose, though occasionally it awards students the Turner Medal. His collection of finished paintings was bequeathed to the British nation, and he intended that a special gallery would be built to house them. This did not come to pass owing to a failure to agree on a site, and then to the parsimony of British governments. Twenty-two years after his death, the British Parliament passed an Act allowing his paintings to be lent to museums outside London, and so began the process of scattering the pictures which Turner had wanted to be kept together. In 1910 the main part of the Turner Bequest, which includes unfinished paintings and drawings, was rehoused in the Duveen Turner Wing at the Tate Gallery. In 1987 a new wing of the Tate, the Clore Gallery, was opened specifically to house the Turner bequest, though some of the most important paintings in it remain in the National Gallery in contravention of Turner's condition that the finished pictures be kept and shown together. Increasingly paintings are lent abroad, ignoring Turner's provision that they be kept "constantly" in Turner's Gallery.
Turner's 1813 watercolour, Ivy Bridge

. After the Turner content was diminished and diluted in the Clore Gallery from c.2002, in 2010-12 only two of the nine rooms on the main floor were devoted to Turner. The claim that the Tate was fulfilling Turner's wishes was dropped in 1995, when the Charity Commission said that the Turner Bequest had been free of Turner's conditions. This was challenged by Leolin Price QC.

A commemorative stained glass window was added to St. Mary's Church, Battersea between 1976 and 1982.[12] There are statues representing him at St Paul's Cathedral, Victoria & Albert Museum, Royal Academy of Arts and Victoria & Albert Museum. A portrait drawing by Cornelius Varley with his patent graphic telescope (Sheffield Museums & Galleries) was compared with his death mask (National Portrait Gallery, London) by Kelly Freeman at Dundee University 2009-10 to ascertain whether it really depicts Turner (www.faceofturner.com).

The Turner Society was founded by Selby Whittingham at London and Manchester in 1975. After that endorsed the Tate Gallery's Clore Gallery wing as the solution (on the lines of the Duveen wing of 1910), to the controversy of what should be done with the Turner Bequest, Selby Whittingham resigned from that and founded the Independent Turner Society.

A prestigious annual art award, the Turner Prize, created in 1984, was named in Turner's honour, and twenty years later the Winsor & Newton Turner Watercolour Award was founded.

A major exhibition, "Turner's Britain", with material (including The Fighting Temeraire) on loan from around the globe, was held at Birmingham Museum & Art Gallery from 7 November 2003 to 8 February 2004.

In 2005, Turner's The Fighting Temeraire was voted Britain's "greatest painting" in a public poll organised by the BBC.[13]
Turner's Ovid Banished From Rome, 1838.

In October 2005 Professor Harold V. Livermore (1914-2010), its owner for 60 years, gave Sandycombe Lodge, the villa at Twickenham which Turner designed and built for himself, to the Sandycombe Lodge Trust to be preserved as a monument to the artist. In 2006 he additionally gave some land to the Trust which had been part of Turner's domaine. The organisation The Friends of Turner's House was formed in 2004 to support it.

In April 2006, Christie's New York auctioned Giudecca, La Donna Della Salute and San Giorgio, a view of Venice exhibited at the Royal Academy in 1841, for US$35.8 million, setting a new record for a Turner. The New York Times stated that according to two sources who had requested anonymity the buyer was casino magnate Stephen Wynn.

In 2006, Turner's Glaucus and Scylla (1840) was returned by Kimbell Art Museum to the heirs of John and Anna Jaffe after a Holocaust Claim was made.[14] The painting was repurchased by the Kimbell for $5.7 million at a sale by Christie's in April 2007.[15][16]

Between 1 October 2007 and 21 September 2008, the first major exhibit of Turner's works in the United States in over forty years came to the Metropolitan Museum of Art, New York, the National Gallery of Art, Washington, and the Dallas Museum of Art. It included over 140 paintings, more than half of which were from the Tate.

An art gallery known as the Turner Contemporary is being built in Margate to celebrate the association of the artist with the town.[17]

The "Turner and his painters" exhibition (Tate Britain, London, 23 September 2009 to 31 January 2010, Paris, Grand Palais, 22 February to 24 May 2010) retraces and illustrates the development of Turner's very personal vision, through the many chance or deliberate, but always opportune and enriching interaction that influenced his remarkable career. Nearly 100 paintings and other graphic works (studies and engravings) from major British and American collections, as well as the Louvre and the Prado will be on show.[18]

On July 7, 2010, Turner's final painting of Rome, “Modern Rome — Campo Vaccino”, from 1839, was bought by the J. Paul Getty Museum at a Sotheby’s auction in London for $44.9 million.

Selected works

    * 1799–Warkworth Castle, Northumberland–Thunder Storm Approaching at Sun-Set, oil on canvas–Victoria and Albert Museum, London
    * 1806–The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory, oil on canvas–Tate Gallery, London
    * 1812–Snow Storm: Hannibal and His Army Crossing the Alps, oil on canvas, Tate Gallery, London
    * 1817–Eruption of Vesuvius, oil on canvas, Yale Center for British Art, New Haven, CT
    * 1822–The Battle of Trafalgar, oil on canvas, National Maritime Museum, Greenwich, London
    * 1829–Ulysses Deriding Polyphemus, oil on canvas, National Gallery, London
    * 1835–The Burning of the Houses of Lords and Commons, oil on canvas, Philadelphia Museum of Art, Philadelphia
    * 1835–The Grand Canal, Venice, oil on canvas, Metropolitan Museum of Art, New York
    * 1838–The Fighting Temeraire Tugged to Her Last Berth to Be Broken up, oil on canvas, National Gallery, London
    * 1839–Modern Rome - Campo Vaccino, oil on canvas, Private Collection on loan to The National Gallery, Scotland
    * 1840–Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), oil on canvas, Museum of Fine Arts, Boston
    * 1840–Glaucus and Scylla, oil on canvas, Kimbell Art Museum, Fort Worth, TX
    * 1840–Rockets and Blue Lights (Close at Hand) to Warn Steamboats of Shoal Water, oil on canvas, Clark Art Museum, Williamstown, MA
    * 1844–Rain, Steam and Speed–The Great Western Railway, oil on canvas, National Gallery, London
    * Date unknown–Shrimpers, Lyme Regis, oil on board, National Trust for England and Wales, Nunnington Hall, North Yorkshire, UK



Notes
 
   1. ^ Exact date disputed
   2. ^ "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." Lacayo, Richard, The Sunshine Boy, TIME Magazine, 11 October 2007.
   3. ^ Turner, Joseph Mallord William National Gallery, London
   4. ^ Oxford Dictionary of National Biography
   5. ^ Finberg, A. J. The Life of J.M.A. Turner, R.A, Oxford: Clarendon Press, 1961, p. 17
   6. ^ Norman Davies Europe: A History, London: Pimlico, 1997, p. 687 ISBN 978-0-7126-6633-6
   7. ^ Tate Gallery
   8. ^ "The Turner Museum". The Turner Museum and Thomas Moran Galleries. http://www.turnermuseum.org. Retrieved 30 August 2010.
   9. ^ Tate Gallery
  10. ^ The Art Archive, J.M.W. Turner, Staffa, Fingal's cave
  11. ^ The Great Artists: JMW Turner R.A. William Cosmo Monkhouse 1879
  12. ^ "St. Mary's Church Parish website". http://home.clara.net/pkennington/VirtualTour/windows_modern.htm#Turner. "St Mary's Modern Stained Glass"
  13. ^ BBC news story
  14. ^ Art Daily news story
  15. ^ story
  16. ^ Fort Worth Star-Telegram story
  17. ^ "Turner Contemporary". Turner Contemporary. http://www.turnercontemporary.org/. Retrieved 2009-08-31.
  18. ^ "Turner - Grand Palais" (in French), Artistik Rezo. 2010-03-02 .

 Bibliography

    * Anthony Bailey, Standing in the Sun: a life of J.M.W.Turner (Sinclair Stevenson, London; HarperCollins, New York. 1997)
    * James Hamilton, Turner (New York: Random House, c1997)
    * A.J.Finberg, The Life of J.M.W.Turner, R.A. (Oxford: Oxford University Press, 1939 and 1961)
    * Selby Whittingham. An Historical Account of the Will of J.M.W.Turner, R.A. (J.M.W.Turner, R.A., Publications, London, 1993-6)
    * Colin Harrison, Turner's Oxford (Ashmolean Museum, Oxford, 2000)
    * Stanley Warburton, Discovering Turner's Lakeland (Lytham St Annes, 2008)
    * David Hill, Turner and Leeds: Image of Industry (Jeremy Mills Publishing, 2008)


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