If I remember correctly, I was first introduced to the work of JMW Turner by my good friend Charlotte, as we explored the National Gallery in London together. I do not remember exactly which work it was that she pointed out to me, saying that Turner is among her favorite artists, but whichever it was, I recall being blown away by the brightness and lightness of his depiction of ships in a port. He brings to life the romanticism of the port, of the ship, of the life at sea. He makes ships and ports look exciting, bright, and full of activity, culture, and adventure. Which is kind of ironic, really, considering that a number of his paintings – including the largest one currently surviving (the largest one he ever did?) – depict gruesome bloody battles of the Napoleonic Wars, with bright blue skies, fluffy white clouds, the sun shining through the canvas of the ships’ sails as they do in nearly all his paintings.
The Battle of Trafalgar, oil on canvas 1823-24. The largest of Turner’s works, at 102 x 144 in.
The Turner exhibit at the Metropolitan Museum, which closes in just a few weeks, was far larger and more thorough a look at his oeuvre than I’d expected. Rather than simply a showing of the however many pieces in the Metropolitan collection, this is a true retrospective covering the entirety of his career, from the first oil painting he ever exhibited to watercolors, prints, and unfinished works found in his studio after his death, including works lent by museums all over the United States and Britain. I was quite surprised, in fact, to see so many works, including some very large works, and surely some extremely famous and expensive works, here on loan from the National Gallery (London) and the Tate Britain, considering what I had heard about museums all around the world tightening up policies of not lending objects, citing the risk of damage or loss and the incredible expense both of shipping and insurance.
Though I’d come to associate Turner with his maritime scenes, particularly those of the Grand Canal in Venice, and port/harbor scenes in the Low Countries, it was enlightening to see his many works in other modes, and to learn that for many years, on account of the wars with France, he was unable to leave Britain; his paintings of Italy, the Netherlands and elsewhere were all done in a particular period of time later in his life. I was particularly intrigued by his paintings, in the Sublime mode, of scenes in Wales, as I’ve been to some of these places, and have a particular fondness for Wales (no wonder Charlotte likes Turner).
Left: JMW Turner – Dolbadarn Castle; Right: Photo taken of the site on my travels around Wales, Summer 2007.
Still, even having seen his other work, what remains for me the most distinctively “Turner”, the most enthralling and appealing works of his are those maritime scenes (and his historical scenes, too, of a romanticized, idyllic Golden Age of Greece, Rome or Carthage), suffused with light, illuminating the colors of the scene, and bringing to the scene the light-heartedness, the fun, the sense of adventure and excitement, and just pure beauty, of the most perfect summer day you have ever experienced. In a way, I am tempted to say that Turner is something of a one-trick pony, the one singular super-bright light source just to the left of center in so many of his paintings being his defining characteristic; but if he is a one-trick pony, it’s a truly masterful, truly enthrallingly beautiful trick.
Venice, from the Porch of Madonna della Salute, exhibited 1835
good
Metropolitan Museum of Art is a favourite of mine now, as Turner is my favourite of all the famous English artists.
It a shame i missed out on this, but am sure Turner will pop up in London again soon!
I particularly like The Battle of Trafalgar and some of his ones in Venice. These are truly great oil paintings!
[…] first painting, or an amazingly thorough retrospective of the full career and oeuvre of JMW Turner is a wonderful thing. It’s not like they’re doing exhibits revolving around CSI, Harry […]
it is really interresting to pass by the ways of art during centuries and in different countries .