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 5 of a 13-part series on the works of J.M.W. Turner:
1807-12 Liber Studiorum continued from part 4:
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| c1807-19 A Wooded Landscape watercolour 23.1 x 37.45 cm Tate Britain, London |
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| 1808 Fifth Plague of Egypt etching 20.6 x 63.5 cm |
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| 1808 Dunstanborough Castle brown ink: first published state on medium, slightly textured, cream laid paper 29.5 x 42.5 cm ------------------------------------------------------------- |
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| c1807 Newark Abbey oil on canvas 91.4 x 123.2 cm Yale Centre for British Art, New Haven, CT |
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| 1807-19 A Stream or Pond with a House on its Distant Bank pencil and watercolour on paper 23.1 x 37.5 cm Tate Britain, London |
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| 1808 Mt. St. Gothard etching and mezzotint, printed in brown ink: first published state on medium, slightly textured, cream laid paper 29.8 x 43.8 cm |
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| 1808 Lake of Thun, Switzerland etching and mezzotint, printed in brown ink: first published state on medium, slightly textured, cream laid paper 27.9 x 41 cm |
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| 1808 Holy Island Cathedral etching and mezzotint, printed in brown ink on medium, slightly textured, cream laid paper 29.2 x 42.9 cm |
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| 1808 Pembury Mill, Kent etching 21.9 x 29.3 cm |
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| 1808 Pembury Mill, Kent etching and mezzotint, printed in brown ink: engraver's proof on medium, slightly textured, cream laid paper 27.6 x 38.4 cm |
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| 1808 The Bridge in Middle Distance etching and mezzotint on paper 26.4 x 37.5 cm cm (plate) |
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| 1808 Ships in a Breeze etching and mezzotint, printed in brown ink; first published state on medium, slightly textured, cream laid paper 29.2 x 42.5 cm |
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| 1808 Sheerness as seen from the Nore oil on canvas 149.6 x 104.5 cm Museum of Fine Arts, Houston, TX |
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| 1808 The Castle above the Meadows etching 20.5 x 28.9 cm |
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| 1808 The Castle above the Meadows etching and mezzotint, printed in brown ink: first published state on medium, slightly textured, cream laid paper 25.4 x 38.1 cm |
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| 1808 The Straw Yard etching and mezzotint with scraping and brown wash 20.6 x 28.6 cm |
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| 1808 The Fifth Plague of Egypt etching and mezzotint, printed in brown ink: first published state on medium, slightly textured, cream laid paper 20.3 x 28.3 cm |
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| c1808 Hedging and Ditching etching and engraving on paper 18.4 x 25.9 cm Tate Britain, London |
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| c1808 Hedging and Ditching graphite and watercolour on paper 18.4 x 25.8 cm Tate Britain, London |
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| 1809 Morpeth, Northumberland etching and mezzotint, printed in brown ink on medium, slightly textured, cream laid paper 20.3 x 28.3 cm |
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| 1809 Little Devil's Bridge over the Russ, above Altdorft, Switzerland etching and mezzotint on paper 17.8 x 25.7 cm (plate) |
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| 1809 Drawing of the Clyde etching and mezzotint on paper 16.3 x 26.7 cm (plate) |
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| 1809 by London from Greenwich Park oil on canvas 90.2 x 120 cm Tate Britain, London |
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| 1809 Scarborough Castle: Boys Crab Fishing watercolour with gum arabic on paper (size not given) The Wallis Collection, London, UK |
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| 1809 The Drawing of the Clyde etching printed in brown ink: engraver's proof on medium, slightly textured, cream wove paper 29.5 x 43.8 cm |
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| 1809 The Drawing of the Clyde etching and mezzotint, printed in brown ink on medium, slightly textured, cream wove paper 26.7 x 35.9 cm |
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| 1809 The Leader Sea Piece etching and mezzotint 17.8 x 25.9 cm |
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| 1809 The Farm-yard with the Cock etching and mezzotint, printed in brown ink: first published state on medium, slightly textured, cream laid paper 28.6 x 41.6 cm |
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| 1809-15 On the Washburn watercolour, graphite, and scratching out on medium, slightly textured, cream wove paper 27.3 x 39.1 cm Yale Centre for British Art, New Haven, CT |
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| 1809-15 On the Washburn (Study) watercolour, graphite, and scratching out on medium, slightly textured, cream wove paper 28.6 x 45.7 cm Yale Centre for British Art, New Haven, CT |
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| 1810 Upper Fall of the Reichenbach: Rainbow watercolour, graphite, heightening with white and scratching out on paper 27.9 x 39.4 cm Yale Centre for British Art, New Haven, CT |
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| 1810 The Fish Market at Hastings Beach oil on canvas 90.8 x 120.6 cm Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| 1810 Sketch of Clouds and Hills at Inverary graphite and grey wash on wove paper 26 x 41.1 cm Ashmolean Museum, Oxford, UK |
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| 1810 Dunstanborough Castle etching, aquatint and mezzotint 18.3 x 26.7 cm (plate) |
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| c1810-15 Study of Trees pen and brown ink over graphite with sepia washes and point of the brush on wove paper 22.6 x 33.6 cm Ashmolean Museum, University of Oxford, UK |
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| 1810-15 Ingleborough from Chapel-Le-Dale watercolour, graphite, and scratching out on moderately thick, slightly textured, cream wove paper 27.9 x 39.4 cm Yale Centre for British Art, New Haven, CT |
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| c1810 The Wreck of a Transport Ship oil on canvas 173 x 245 cm Calouste Gulbenkian Museum, Lisbon, Portugal |
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| c1810 Scarborough town and castle, morning: boys catching crabs watercolour 85 x 111.7 cm Art Gallery of South Australia Adelaide, SA |
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| c1810 Lake of Geneva from Montreux oil on canvas 102.8 x 162.5 cm Los Angeles County Museum of Art, Los Angeles, CA |
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| 1811 From Spenser's Fairy Queen etching and mezzotint, printed in brown ink: second published state on medium, slightly textured, cream wove paper 27.9 x 39.7 cm |
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| 1811 Coast of Yorkshire etching and mezzotint, printed in brown ink; first published state on medium, slightly textured, cream wove paper 28.9 x 42.2 cm |
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| 1811 Hind Head Hill etching, printed in brown ink on medium, slightly textured, cream wove paper 29.8 x 43.5 cm |
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| 1811 Hind Head Hill etching and mezzotint with chine collé, printed in brown ink on moderately thick, slightly textured, cream wove paper 27.9 x 41 cm |
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| 1811 Juvenile Tricks etching and mezzotint, printed in brown ink: engraver's proof (b) on medium, slightly textured, cream laid paper 26.4 x 34.3 cm |
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| 1811 Junction of Severn and Wye etching, aquatint, and mezzotint, printed in brown ink: first published state on medium, slightly textured, cream wove paper 27.9 x 41.3 cm |
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| 1811 Inverary Pier, Loch Fyne, Morning etching and mezzotint, printed in brown ink: touched engraver's proof on medium, slightly textured, cream wove paper 23.5 x 31.4 cm |
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| 1811 Marine Dabblers etching and mezzotint, printed in brown ink: first published state on medium, slightly textured, cream wove paper 29.2 x 44.5 cm |
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| 1811 Lauffenbourgh on the Rhine etching and mezzotint, printed in brown ink: first published state on medium, slightly textured, cream wove paper 28.9 x 41.6 cm |
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| 1811 London from Greenwich etching on medium, slightly textured, cream wove paper 23.8 x 32.4 cm |
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| 1811 London from Greenwich etching and mezzotint, printed in brown ink on medium, slightly textured, cream laid paper 27.9 x 42.5 cm |
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