J.M.W. Turner - part 2

c1799 Self-Portrait
oil on canvas 74.3 x 58.4 cm
Tate Gallery, London

Joseph Mallord William Turner (1775-1851) is perhaps the best-loved English Romantic artist. He became known as 'the painter of light', because of his increasing interest in brilliant colours as the main constituent in his landscapes and seascapes. His works include water colours, oils and engravings.Turner was born near Covent Garden in London and entered the Royal Academy Schools in 1789. His earliest works form part of the 18th-century topographical tradition. He was soon inspired by 17th-century Dutch artists such as Willem van der Velde, and by the Italianate landscapes of Claude and Richard Wilson.

He exhibited watercolours at the Royal Academy from 1790, and oils from 1796. In 1840 he met the critic John Ruskin, who became the great champion of his work.Turner became interested in contemporary technology, as can be seen from "The Fighting Temeraire" and :Rain, Steam and Speed". At the time his free, expressive treatment of these subjects was criticised, but it is now widely appreciated. Turner bequeathed much of his work to the nation. The great majority of the paintings are now at Tate Britain.

This is part 2 of a 13-part series on the works of J.M.W. Turner:

1792 Part of Petworth Church, Sussex, Seen from the
North-West
pencil and wash on white wove paper 27.2 x 21.3 cm
Tate Britain, London

1792 The Lake of Brienz from the Quay from the Grenoble sketchbook
chalk, gouache and graphite on paper 21.6 x 28.3 cm
Tate Britain, London

c1793 Rochester
watercolour with pen and grey ink on cream wove paper
21.6 x 27.9 cm
The Frick Collection, New York, NY

c1793 Interior of St. John's Palace, Eltham
watercolour and graphite on medium, slightly textured, cream wove paper 33.3 x 27.3 cm
Yale Centre for British Art, New Haven, CT

c1793 Boats on a Beach
watercolour over graphite on wove paper 13.1 x 21.6 cm
Ashmolean Museum, University of Oxford, UK

1793 St. Augustine's Gate, Canterbury
watercolour and graphite on medium, slightly textured, cream wove paper 34.3 x 49.2 cm
Yale Centre for British Art, New Haven, CT

1794 Ruins of Tintern Abbey
watercolour over graphite 33.3 x 24 cm
Calouste Gulbenkian Museum, Lisbon, Portugal

1794-97 A River View near Grindelwald, Looking towards the Wetterhorn
watercolour, graphite, and grey wash on medium, slightly textured, cream wove paper 24.1 x 37.8 cm
Yale Centre for British Art, New Haven, CT

c1794-97 Tivoli with the Temple of the Sybil and the Cascades
watercolour,  slightly textured, cream wove paper 41.9 x 54.9 cm
Yale Centre for British Art, New Haven, CT

1794-97 On the Aar between Unterseen and Lake of Brienz
grey ink wash over pencil on paper 24.1 x 37.7 cm
Indianapolis Museum at Newfields, Indianapolis, USA

c1794 In the Valley Near Vietri
watercolour and graphite on paper 17.8 x 23.2 cm
Yale Centre for British Art, New Haven, CT

c1794 Autumn Sowing of the Grain
watercolour and graphite on medium, slightly textured, cream wove paper 21.6 x 32.7 cm
Yale Centre for British Art, New Haven, CT

c1794-96 A Great Tree
watercolour and graphite on medium, slightly textured, cream laid paper 25.4 x 38.7 cm
Yale Centre for British Art, New Haven, CT

1795 From the Isola Borromena, Lago Maggiore
watercolour and graphite on medium, slightly textured, cream wove paper 14.9 x 22.9 cm
Yale Centre for British Art, New Haven, CT

1795 Flint
etching and engraving: published state on medium, smooth, cream wove paper 7.9 x 12.1 cm

1795 Alum Bay, Isle of Wight
pencil and watercolour on white wove paper 20.4 x 26.4 cm
Tate Gallery, London

c1795-1800 Landscape with a white Horse and Haystack
watercolour over graphite with pen and ink and some scratching out 23.6 x 34.9 cm
Ashmolean Museum, Oxford, UK

c1795 A Three Storied Georgian House in a Park
watercolour,  graphite and grey wash on medium, slightly textured, cream wove paper 11.1 x 27.6 cm
Yale Centre for British Art, New Haven, CT

c1795 A Three Storied Georgian House in a Park
detail

c1795 A Three Storied Georgian House in a Park
detail

c1795 Sir William Hamilton's Villa
watercolour and graphite on medium, slightly textured, cream wove paper, mounted on moderately thick wove paper
17.1 x 23.5 cm
Yale Centre for British Art, New Haven, CT

c1795 Santa Lucia, A Convent near Caserta
watercolour and graphite on medium, slightly textured, cream wove paper 15.2 x 23.8 cm
Yale Centre for British Art, New Haven, CT

c1795 Landscape with Barn
watercolour and graphite on medium, slightly textured, cream wove paper 24.8 x 38.7 cm
Yale Centre for British Art, New Haven, CT

c1795 Corpus Christi and Merton College Chapel
watercolour with pen and black ink on paper 36.3 x 22.1 cm
Ashmolean Museum, Oxford, Uk

c1795 Chester Castle
watercolour over graphite, with pen and ink and scratching out 15.3 x 21.6 cm
Ashmolean Museum, University of Oxford, UK

1796 View of Ely Cathedral
watercolour and graphite on medium, slightly textured, cream wove paper 10.5 x 16.8 cm
Yale Centre for British Art, New Haven, CT

1796 The Battle of Fort Rock, Val d'Aouste, Piedmont
gouache and watercolour on paper 69.6 x 101.5 cm
Tate Britain, London

1796 Fishermen at Sea
oil on canvas oil on canvas 91.4 x 122.2 cm
Tate Britain (collection)
Kunstmuseum Lucerne (current location) 

1796-97 Villa Salviati on the Arno
watercolour, graphite and scraping out on medium, slightly textured, cream wove paper 18.4 x 23.5 cm
 Yale Centre for British Art, New Haven, CT

c1796-7 Two Soldiers Talking
pencil, black chalk and watercolour on white wove paper
34.7 x 24.3 cm
Tate Britain, London

c1796-7 Study of a Sleeping Cat
red and black chalks and wash on white wove paper
23.8 x 27.8 cm
Tate Britain, London

c1796-7 An Old Bearded Man Seen in Profile with a Boy Reaching Past him, Holding a Hat
black chalk, pencil and watercolour on white wove paper
34.4 x 24.2 cm
Tate Britain, London

c1796 Villa d'Este
watercolour, graphite, pen and back ink, blue wash and grey wash on paper 42.5 x 55.2 cm
Yale Center for British Art, New Haven, CT

c1796 Landscape with Waterfall
watercolour, graphite, and grey wash on medium, slightly textured, cream wove paper 27.6 x 39.1 cm
Yale Centre for British Art, New Haven, CT

c1796 Landscape with Trees and Figures
watercolour and graphite on medium, slightly textured, wove paper 32.4 x 42.2 cm
Yale Centre for British Art, New Haven, CT

1797-98 Durham Cathedral: The Interior, Looking East along the South Aisle
watercolour and scraping-out on white wove paper
75.8 x 57.9 cm
Tate Britain, London

1797-98 Dunstanburgh Castle from the South
pencil, watercolour and gouache on buff laid paper 198 x 278
Tate Britain, London

1797-98 Derwentwater, with the Falls of Lodore
pencil and watercolour on white wove paper 49.3 x 63.2 cm
Tate Britain, London

1797-98 A View in the Lake District
pencil, watercolour and stopping-out on white wove paper
54.8 x 77 cm
Tate Britain, London

1797-98 A Steep Hillside with a Mountain Stream
pencil and watercolour with some stopping-out on white wove paper 53.8 x 37.8 cm
Tate Britain, London

1797-98 The Interior of a Cannon Foundry
pencil and watercolour with some scratching-out on white wove paper 24.7 x 34.7 cm
Tate Britain, London

1797-98 Richmond, Yorkshire: Colour Study
pencil, watercolour and stopping-out on white wove paper
42.2 x 54.7 cm
Tate Britain, London

1797-98 Oxford: Folly Bridge, Seen from the South-East
graphite and watercolour on paper 20.7 x 26.6 cm
Tate Britain, London

1797-98 Norham Castle: Colour Study
pencil and watercolour with stopping- and scraping-out on white wove paper 54.2 x 74.8 cm
Tate Britain, London

1797-98 Kirkstall Abbey, with the Adoration of the Shepherds
pen and brown ink and wash on white laid paper 25.4 x 20 cm
Tate Britain, London

J.M.W. Turner - part 1

1791-73  Self Portrait
oil on? 52 x 41.9 cm
 Indianapolis Museum of Art Indiana

Joseph Mallord William Turner (1775-1851) is perhaps the best-loved English Romantic artist. He became known as 'the painter of light', because of his increasing interest in brilliant colours as the main constituent in his landscapes and seascapes. His works include water colours, oils and engravings.Turner was born near Covent Garden in London and entered the Royal Academy Schools in 1789. His earliest works form part of the 18th-century topographical tradition. He was soon inspired by 17th-century Dutch artists such as Willem van der Velde, and by the Italianate landscapes of Claude and Richard Wilson.

He exhibited watercolours at the Royal Academy from 1790, and oils from 1796. In 1840 he met the critic John Ruskin, who became the great champion of his work.Turner became interested in contemporary technology, as can be seen from "The Fighting Temeraire" and :Rain, Steam and Speed". At the time his free, expressive treatment of these subjects was criticised, but it is now widely appreciated. Turner bequeathed much of his work to the nation. The great majority of the paintings are now at Tate Britain.

This is part 1 of a 13-part series on the works of J.M.W. Turner:

c1700-1800 View towards Moel Hebog from above Llyn Dinas
pencil and watercolour with stopping-out 66 x 85 cm
Tate Britain, London 

c1704 Newark-upon-Trent
watercolour and graphite on medium, slightly textured, cream wove paper 30.5 x 41.9 cm
Yale Centre for British Art, New Haven, CT

c1783 The Remains of Abingdon Abbey, now called
Starve Castle
watercolour with pen and black ink 27 x 20.7 cm
Ashmolean Museum, University of Oxford

c1785 Saltwood Castle, Kent
watercolour over graphite 14.4 x 20.3 cm
Ashmolean Museum, University of Oxford

c1789 Lacy's Court, Bath Street, Abingdon
graphite and watercolour on paper 16 x 25 cm
Tate Britain, London

1790 View of the Archbishop's Palace, Lambeth
watercolour 26.6 x 38.1 cm
Newfields, Indianapolis, Indiana, USA

1790-99 Dark Prison (Carcere Obscura)
watercolour over graphite 36 x 23.5 cm
The Metropolitan Museum of Art, New York City, USA

c1790-1800 Bisham Abbey, Berkshire
watercolour over graphite 20 x 26.2 cm
Ashmolean Museum, University of Oxford, UK

c1790s Fisherman's Cottage, Dover
watercolour,  graphite and gray wash on medium, slightly textured, cream wove paper 13.3 x 20 cm
Yale Centre for British Art, New Haven, CT

1791-92? A House with Outbuildings in a Wooded Landscape
pencil, watercolour and pen and brown ink on white wove paper 20.7 x 30.1 cm
Tate Britain, London

1791-93 Classical Studies: Tate Britain, London:

1790 Half-length Study of the Fighting Gladiator
black and white chalks with stump on dark buff paper
33.7 x 26.9 cm

1791-92 Study of the Jason?
pencil with black and white chalks and stump on laid buff paper 42.5 x 26.7 cm

c1791 Full-length Study of the Fighting Gladiator
black and white chalks and stump on laid buff-grey wrapping paper, laid down on modern white paper 38.3 x 24.6 cm

1792 Study of the Vatican Meleager
pencil and black chalk on white wove paper 36.6 x 30.9 cm

1792 Study of a Head
black chalk and stump on off-white paper 37.2 x 26.6 cm

1792 Study of the Apollo Belvedere?
black and white chalks and stump on laid grey wrapping paper 46.1 x 30 cm

1792 Study of the Vatican Meleager
black and white chalks on grey-buff laid paper 4.16 x 25.6 cm

1792 Study of the Venus de' Medici
black and white chalks and stump on laid buff-grey wrapping paper 39.2 x 26.4 cm

1792 Study of the Venus de' Medici
black chalk and stump on off-white paper 37.2 x 26.6 cm

1792 The Head and Torso of the Apollo Belvedere
black and white chalks on brown laid wrapping paper
41.9 x 26.9 cm

1792-3 Study of the Apollo Belvedere
black chalk and stump on off-white wove paper 47.3 x 31.4 cm

1792-3 Study of the Head of Paris?
black and white chalks and stump on laid buff-grey wrapping paper 27.5 x 27.1 cm 

1793 Head of the Apollo Belvedere
black and white chalks on laid brown-grey wrapping paper 44.0 x 27.7 cm

1793 Study of the Belvedere Hermes
black and white chalks and stump on laid buff-grey paper
40.0 x 21.6 cm

1793 Study of the Vatican Discobolus
black and white chalks and stump on laid brown-grey wrapping paper 44.0 x 27.7 cm 

1793 Study of the Fighting Gladiator
black and some white chalk on buff wove paper 58.0 x 45.7 cm

c1791 Dent de Lion, near Margate
watercolour, graphite, and pen and brown ink on medium, slightly textured, cream wove paper 25.7 x 34.6 cm
Yale Centre for British Art, New Haven, CT

1792 Canterbury: Christ Church Gate
pencil and watercolour on white wove paper, laid down
21.4 x 27.4 cm
Tate Britain, London

1792 Canterbury: The West Gate, from the River Stour
pencil and watercolour on white wove paper 21.5 x 27.5 cm
Tate Britain, London

1792 Study of a Figure in the Pose of the Dying Gaul
black and white chalks on laid buff-grey wrapping paper
28.2 x 38.5 cm

1792-93 An Octagonal Turret and Battlemented Wall: Study of Part of the Gateway of Battle Abbey
 graphite and watercolour on paper 17.2 x 14.6 cm
Tate Britain, London

1792-93 Oxford: St Mary's Church and the Radcliffe Camera from Oriel Lane
pencil and watercolour on white wove paper 27.4 x 21.6 cm
Tate Britain, London

1792-93 Oxford: Tom Tower, Christ Church
pencil and watercolour on white wove paper 27.2 x 21.5 cm
Tate Britain, London

1792-93 St. Augustine's Gate, Canterbury
watercolour and graphite on medium, slightly textured, cream wove paper 21 x 27 cm
Yale Centre for British Art, New Haven, CT

c1792 Llanthony Abbey, Monmouthshire
watercolour 18.5 x 26.9 cm
Indianapolis Museum of Art at Newfields, Indianapolis, USA

1793 Clare Hall and the West end of King's College Chapel, Cambridge, from the banks of the River Cam
 watercolour and graphite on medium, slightly textured, cream wove paper 20 x 27.6 cm
Yale Centre for British Art, Paul Mellon Collection

1793 Rochester Castle from the River
pencil and watercolour on white wove paper 21.5 x 27 cm
Tate Britain, London

c1793-94 A Male Nude Seated Cross-legged on Rocks, with His Chin in his Hand: a Study of an Arm and Hand
black, white and red chalk and stump on laid buff paper
56.5 x 42 cm
Tate Britain, London

1794-95 A Standing Male Nude with both Arms raised to the Right, on Steps, with a Broken Column and Foliage
black, white and red chalks with stump on brown paper, mounted and laid down 46.2 x 29.6 cm
Tate Britain, London

c1794-95 A Kneeling Male Nude with Upraised Head and Arm in a Landscape Setting
black, white and red chalks with stump on laid brown-grey wrapping paper 46.3 x 29.2 cm
Tate Britain, London

c1794-95 A Seated Male Nude with a Staff and with Right Arm on Head, in a Landscape Setting
black, white and red chalks with stump on buff-grey paper
46.3 x 29.6 cm
Tate Britain, London

c1794-95 A Standing Male Nude, holding a Staff and with Left Arm outstretched, in a Landscape Setting black, white and red chalks with stump on laid buff-grey paper 46.7 x 29.8  cm
Tate Britain, London

1796 A Standing Male Nude, with Arms behind Back and one Foot on a Step, in Front of a Column
black and white chalk on brown paper 44.3 x 29.5 cm
Tate Britain, London

c1796-97 A Standing Male Figure with Arms Supported in a Loop above his Head: a Landscape Beyond
black and white chalks with stump on laid blue wrapping paper, laid down 48.9 x 29.9 cm
Tate Britain, London

c1796 A Male Nude Stooping over a Rock, Seen from the Side
black and white chalks with stump on laid blue paper 55.0 x 38.0 cm
Tate Britain, London

c1796 A Standing Male Nude, with Right Arm Raised, Seen from Behind
black and white chalks and body colour on laid blue wrapping paper 51.4 x 34.9 cm
Tate Britain, London

c1797-9 A Supine Male Nude with One Leg Raised
black and white chalks on buff-brown paper, 50.8 x 41.9 cm
Tate Britain, London