turner seascapes

Posted on October 8th, 2020

John Ruskin was the first to impose a semblance of order on the Bequest, in ways informed by his own impassioned vision of the artist as a purveyor of divine truth through his engagement with the natural world. However, there was only a handful, as Ruskin concluded that, while such works might be useful to students, "they are not, in general, interesting". We would like to hear from you.

Although unlikely to have been painted outdoors, from nature, this canvas is included to show how Turner used his rolls of canvas, and how the Cowes sketches would have looked before they were separated. A second show at Marlborough House included a selection of sketchbooks and a small group of preparatory sketches, or "trials of effects for pictures". However, there is a marked difference between his finished watercolours, such as that witnessed by Fawkes, which he was able to sell as quickly as he could make them, and the many thousand sketches and drawings that he produced for his own purposes, and about which he was even more guarded. However, one should never let an apparently sound provenance stand in the way of one's judgment based on the visual evidence, and in this case there is one further element, the fact that, from 1848, for apparently the only time in his life, Turner employed an assistant, Francis Sherrell. It is not clear, but the marks are just sufficient to animate the foreground, as the waves and the three-masted ship above draw the blue sweep away from the viewer towards a distant horizon. Originally, it is likely that the sea was glassy in appearance, probably thick transparent textured paint tinted by subtle hues of blue derived from fine hatched strokes underneath and stained by yellow and greys from fine glazes on top. Art International XIX/2, February 1975, p. 13 in colour. Of the works they doubt, No. The first layers of paint are so thin as to be stains on the priming. Some of the original paint has been lost along the right-hand edge. In 1964 the upper layer of surface dirt was removed, losses filled, and retouched. But what? Turner is perhaps the best-loved English Romantic artist. The sea is transparent and now appears a rich brown in colour.

As Ruskin worked his way through the remainder of Turner's career, preparing for display those works he regarded as exemplary and consigning others to tin boxes, he became the first to appreciate the full extent of his brilliant, and at times chaotic, artistic life. Those few who saw him draw or paint first-hand recalled with excitement the variety and inventiveness of his technique. The more elemental of Turner's late watercolour sketches are often discussed in relation to the non-figurative painting that emerged and flourished during the 20th century. Elsewhere well-diluted paint is applied in a fast scrubbing gesture leaving arcs of grey matter. The thickest impasto may be a megilp, a mixture of oil and resin. But the lighthouse is situated 12 miles off Plymouth, and the image, a night scene, is one of three that show the structure at different times of day and in various stages of a storm. Equally important is the mythical status of Turner's private studio practice, as a result of which such "beginnings" have come to represent something essential and immediate about the artistic process. The first is the question of dating: the dates adopted here are highly tentative and are based on the supposition that there is a logical progression from a more substantial, three-dimensional style to one that is more impressionistic and less solid, together with a feeling that Turner's colouring was perhaps at its strongest from the early to the mid 1830s.

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