Length2h 36m
About this audiobook
At fifteen, Turner was already exhibiting View of Lambeth. He soon acquired the reputation of an immensely clever watercolourist. A disciple of Girtin and Cozens, he showed in his choice and presentation of theme a picturesque imagination which seemed to mark him out for a brilliant career as an illustrator. He travelled, first in his native land and then on several occasions in France, the Rhine Valley, Switzerland and Italy. He soon began to look beyond illustration. However, even in works in which we are tempted to see only picturesque imagination, there appears his dominant and guiding ideal of lyric landscape. His choice of a single master from the past is an eloquent witness for he studied profoundly such canvases of Claude as he could find in England, copying and imitating them with a marvellous degree of perfection. His cult for the great painter never failed. He desired his Sun Rising through Vapour and Dido Building Carthage to be placed in the National Gallery side by side with two of Claude's masterpieces. And, there, we may still see them and judge how legitimate was this proud and splendid homage. It was only in 1819 that Turner went to Italy, to go again in 1829 and 1840. Certainly Turner experienced emotions and found subjects for reverie which he later translated in terms of his own genius into symphonies of light and colour. Ardour is tempered with melancholy, as shadow strives with light. Melancholy, even as it appears in the enigmatic and profound creation of Albrecht Dürer, finds no home in Turner's protean fairyland – what place could it have in a cosmic dream? Humanity does not appear there, except perhaps as stage characters at whom we hardly glance. Turner's pictures fascinate us and yet we think of nothing precise, nothing human, only unforgettable colours and phantoms that lay hold on our imaginations. Humanity really only inspires him when linked with the idea of death – a strange death, more a lyrical dissolution – like the finale of an opera.
Audiobook details
GenreOther
Length2 hrs 36 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateJul 1, 2011
LanguageEnglish
Table of contents
1Turner
2© Sirrocco, London, UK © Confidential Concepts, worldwide, USA
3John Ruskin, 1843
4Biography
5Tours Belgium, Germany and Holland.
Show all chaptersShow less
6principally in Rome.
7From darkness to light: perhaps no painter in the history
8with part of Thomas-à-Becket's crown, Canterbury Cathedral of
9Folly Bridge and Bacon’s Tower, Oxford
10Joseph Mallord William Turner was born at 21 Maiden
11Harewood House from the South-East
12The Archbishop’s Palace, Lambeth
13Interior of King John’s Palace, Eltham
14painters such as James Barry RA and Henry Fuseli RA whose
15RA 1792 watercolour, 39.5 x 51.5 cm Turner Bequest, Tate Britain, London
16dramatically and that the stage positionings of actors and
171792 watercolour, 27.2 x 21.5 cm Turner Bequest, Tate Britain, London
18At the 1792 Royal Academy Exhibition Turner also received
19RA 1794 watercolour, 51.7 x 37.4 cm Whitworth Art Gallery, Manchester, U.K
20Fishermen at Sea
21production of large numbers of watercolours, this procedure
22tonalist in world art.
23RA 1796 watercolour, 31.8 x 41.9 cm Art Gallery and Museum, Wolverhampton
24inventive colourists in European painting. That development
25private lessons. And on winter evenings between 1794 and
26young watercolourist, Thomas Girtin (1775-1802) – at the
27influence of all these painters, and the breadth of Cozens's
28(1741-1825) and Richard Wilson RA
291798 watercolour, 45.6 x 61 cm York City Art Gallery
30View of Salisbury Cathedral from the Bishop’s Garden
31Abergavenny Bridge, Monmouthshire, Clearing up after a Showery Day
32'Decorum' in the aesthetic literature familiar to Reynolds and
331842 watercolour, 30.4 x 45.4 cm York City Art Gallery
34particularly ingenious observance of Decorum, Pope's Villa at
35Twickenham of 1808 and a far better-known later example, The
36specific meanings; puns or plays upon the similarity of
37appearances; similes or direct comparisons between forms; and
381800 watercolour, 21.7 x 36.7 cm Ruskin School Collection
39Reynolds's admonition that artists should not concern
401794 watercolour of St Anselm's Chapel, Canterbury. In works
41of the Riechenbach, in the valley of Hasle, Switzerland of
42hydrodynamics. The Fishermen at Sea of 1796 demonstrates
43South View from the Cloisters, Salisbury Cathedral
44the 'qualities and causes' of arboreal forms, and thereafter
451803 oil on canvas, 68.5 x 100.3 cm Lloyd Collection
46Richmond Hill
47Reynolds (so much so that often his representations of places
48around 1810:
49The Shipwreck
50the inessential.
