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 7 of a 13-part series on the works of J.M.W. Turner:
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| 1815 Dido building Carthage, or The Rise of the Carthaginian Empire oil on canvas 155.5 x 230 cm |
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| 1815-19 Stonehenge at Daybreak mezzotint, printed in brown ink modern impression on moderately thick, slightly textured, cream wove paper 28.6 x 40 cm |
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| 1815-20 Shipping Scene, with Fishermen brown wash, brushed brown ink, and scraping out on medium, slightly textured, cream wove paper 21.6 x 29.2 cm Yale Centre for British Art, New Haven, CT |
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| c1815 Cloud and Sunlight at Sea watercolour on wove paper 19.2 x 24.2 cm Ashmolean Museum, Oxford, UK |
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| c1815 On the Washburn watercolour, graphite and white highlighting on paper 27.3 x 39.1 cm Yale Centre for British Art, New Haven, CT |
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| c1815 Mer de Glace, in the Valley of Chamonix watercolour, graphite, gum, scraping out, and stopping out on moderately thick, slightly textured, cream wove paper 70.5 x 104.1 cm Yale Centre for British Art, New Haven, CT |
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| c1815 Devil's Bridge, Saint Gotthard's Pass watercolour, white wax crayon, and scraping out on moderately thick, moderately textured, cream wove paper 105.7 x 75.9 cm Yale Centre for British Art, New Haven, CT |
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| 1816 Entrance of Calais Harbour etching and mezzotint, printed in brown ink: first published state on medium, slightly textured, cream laid paper 29.5 x 41.9 cm |
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| 1816 Dumblain Abbey, Scotland 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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| 1816 Bonneville, Savoy etching and mezzotint, printed in brown ink: engraver's proof on medium, slightly textured, cream laid paper 27.3 x 41 cm |
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| 1816 Berry Pomeroy Castle etching and Mezzotint 19.7 x 17.3 cm (plate) |
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| 1816 Leeds watercolour, scraping out, and pen and black ink on medium, slightly textured, cream wove paper 29.2 x 43.2 cm Yale Centre for British Art, New Haven, CT |
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| 1816 Inverary Castle and Town, Scotland etching and mezzotint on paper 28.9 x 43.5 cm |
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| 1816 Inverary Castle and Town, Scotland etching 21.1 x 38.8 cm |
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| 1816 Solway Moss etching and mezzotint, printed in brown ink on medium, slightly textured, cream laid paper 27.9 x 40.3 cm |
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| 1816 Raglan Castle etching and mezzotint, printed in brown ink: first published state on medium, slightly textured, cream laid paper 28.3 x 38.4 cm |
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| 1816 Norham Castle on the Tweed etching and mezzotint, printed in brown ink on medium, slightly textured, cream laid paper 28.6 x 42.9 cm |
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| 1816 Mill Near the Grand Chartreuse, Dauphiny etching and mezzotint on paper 20.6 x 29.2 cm |
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| 1816 Ville de Thun, Switzerland etching and mezzotint, printed in brown ink: first published state on medium, slightly textured, cream laid paper 29.5 x 43.5 cm |
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| 1816 The Tenth Plague of Egypt etching and mezzotint on paper 30.2 x 43.2 cm |
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| 1816 The Source of the Arveron in the Valley of Chamouni, Savoy etching and mezzotint, printed in brown ink on medium, slightly textured, cream laid paper 27 x 41.3 cm |
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| c1816 Hackfall, Near Ripon watercolour over graphite on paper 27.9 x 39.6 cm The Wallace Collection, London |
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| 1816-18 The Junction of the Greta and Tees at Rokeby watercolour over graphite, with scratching out and use of the brush handle, on wove paper 29 x 41.4 cm Ashmolean Museum, Oxford, UK |
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| 1817 Raby Castle, the Seat of the Earl of Darlington oil on canvas 119 x 180.6 cm Walters Art Museum, Baltimore, MD |
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| 1817 Aysgarth Force, Richmondshire watercolour over graphite on off-white paper 29.2 x 41.5 cm Newfields, Indianapolis, Indiana, USA |
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| 1817 Andernach watercolour, gouache, pen and black ink and scratching out on medium, slightly textured, cream wove paper 20 x 32.1 cm Yale Centre for British Art, New Haven, CT |
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| 1817 A View of Boppart, with Figures on the River Bank watercolour, gouache, black chalk and scratching out on medium, slightly textured, cream wove paper 20 x 31.8 cm Yale Centre for British Art, New Haven, CT |
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| c1817-18 Aesacus and Hesperie etching and watercolour on paper 18 x 25.7 cm |
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| c1817-18 Aesacus and Hesperie etching, printed in brown ink on medium, slightly textured, cream wove paper 28.9 x 43.2 cm |
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| 1817 The Roman Tower, Andernach oil on canvas? 20 x 28 cm Stewart Gardner Museum, Boston, MA |
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| 1817 Rheinfels looking to Katz and Goarhausen watercolour, gouache, grey wash and scraping out on medium, slightly textured, cream wove paper 20 x 31.8 cm Yale Centre for British Art, New Haven, CT |
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| c1817-18 Study for "Ploughing, Eton" pencil and watercolour on paper 23 x 34.4 cm Tate Britain, London |
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| 1818 Ploughing, Eton etching and mezzotint, printed in brown ink: second plate, reprinted for Rawlinson on medium, slightly textured, cream wove paper 29.2 x 42.2 cm |
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| 1818 Farnley Hall, from the Junction of the Wharfe and the Washburn watercolour and bodycolour 32.1 x 45.5 cm Ashmolean Museum, University of Oxford, UK |
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| 1818 Dort or Dordrecht: The Dort packet-boat from Rotterdam becalmed oil on canvas 157.5 x 233.7 cm Yale Centre for British Art |
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| c1818 Rome from Monte Mario watercolour with pen and black ink, over graphite on medium, slightly textured, cream wove paper 13.8 x 21.4 cm Yale Centre for British Art, New Haven, CT |
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| c1818 High Street, Edinburgh watercolour, pen and brown ink, graphite and scratching out on medium, slightly textured, cream wove paper 16.5 x 24.8 cm Yale Centre for British Art, New Haven, CT |
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| c1818 Chrichton Castle with a Rainbow: Colour Study watercolour and graphite on medium, slightly textured, cream wove paper, mounted on thick, slightly textured cream wove paper 17.5 x 24.8 cm Yale Centre for British Art, New Haven, CT |
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| c1818 Beginning for 'Loss of an East Indiaman' graphite, watercolour and chalk on paper 31.1 x 46 cm Tate Britain, London |
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| c1818-20 Vesuvius in Eruption watercolour, gum, and scraping out on paper 28.6 x 39.7 cm Yale Centre for British Art, New Haven, CT |
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| 1819 East Gate, Winchelsea, Sussex etching and mezzotint 17.5 x 26.7 cm (plate) |
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| 1819 Christ and the Woman of Samaria etching and mezzotint 29.2 x 44.1 cm |
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| 1819 Bonneville, Savoy etching, aquatint and mezzotint 21.4 x 29.2 cm |
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| 1819 Ben Arthur, Scotland etching and mezzotint, printed in brown ink on medium, slightly textured, cream laid paper 28.3 x 39.7 cm |
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| 1819 Bell Rock Lighthouse red chalk, with touches of black chalk, over stylus underdrawing on paper 30.6 x 45.5 cm Scottish National Gallery, Edinburgh, UK |
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