English Romantic Painter, 1775-1851 Joseph Mallord William Turner (23 April 1775 ?C 19 December 1851) was an English Romantic landscape painter, watercolourist and printmaker, whose style is said to have laid the foundation for Impressionism. Although Turner was considered a controversial figure in his day, he is now regarded as the artist who elevated landscape painting to an eminence rivalling history painting. Turner's talent was recognised early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterised by a chromatic palette and broadly applied atmospheric washes of paint. According to David Piper's The Illustrated History of Art, his later pictures were called "fantastic puzzles." However, Turner was still recognised as an artistic genius: the influential English art critic John Ruskin described Turner as the artist who could most "stirringly and truthfully measure the moods of Nature." (Piper 321) Suitable vehicles for Turner's imagination were to be found in the subjects of shipwrecks, fires (such as the burning of Parliament in 1834, an event which Turner rushed to witness first-hand, and which he transcribed in a series of watercolour sketches), natural catastrophes, and natural phenomena such as sunlight, storm, rain, and fog. He was fascinated by the violent power of the sea, as seen in Dawn after the Wreck (1840) and The Slave Ship (1840). Turner placed human beings in many of his paintings to indicate his affection for humanity on the one hand (note the frequent scenes of people drinking and merry-making or working in the foreground), but its vulnerability and vulgarity amid the 'sublime' nature of the world on the other hand. 'Sublime' here means awe-inspiring, savage grandeur, a natural world unmastered by man, evidence of the power of God - a theme that artists and poets were exploring in this period. The significance of light was to Turner the emanation of God's spirit and this was why he refined the subject matter of his later paintings by leaving out solid objects and detail, concentrating on the play of light on water, the radiance of skies and fires. Although these late paintings appear to be 'impressionistic' and therefore a forerunner of the French school, Turner was striving for expression of spirituality in the world, rather than responding primarily to optical phenomena. Rain, Steam and Speed - The Great Western Railway painted (1844).His early works, such as Tintern Abbey (1795), stayed true to the traditions of English landscape. However, in Hannibal Crossing the Alps (1812), an emphasis on the destructive power of nature had already come into play. His distinctive style of painting, in which he used watercolour technique with oil paints, created lightness, fluency, and ephemeral atmospheric effects. (Piper 321) One popular story about Turner, though it likely has little basis in reality, states that he even had himself "tied to the mast of a ship in order to experience the drama" of the elements during a storm at sea. In his later years he used oils ever more transparently, and turned to an evocation of almost pure light by use of shimmering colour. A prime example of his mature style can be seen in Rain, Steam and Speed - The Great Western Railway, where the objects are barely recognizable. The intensity of hue and interest in evanescent light not only placed Turner's work in the vanguard of English painting, but later exerted an influence upon art in France, as well; the Impressionists, particularly Claude Monet, carefully studied his techniques.  Related Paintings of Joseph Mallord William Turner :. | The shape of black | Constance (mk31) | Solidity | Cologne:The arrival of a packet-boat:evening | Bolu |
Related Artists:
Ferdinand Max Bredt
painted In a courtyard, Tunis in 1921
George Turner
1750-1843. Turner was born in Cromford, Derbyshire in England, but then moved to Derby with his family. He showed an early talent for music and art - encouraged by his father Thomas Turner, who although a tailor by profession was also an art enthusiast. Turner was largely self-taught and went on to become a professional painter and art teacher. A quiet scene in Derbyshire (1885)Turner lived in Derbyshire all his life. In 1865 he married Eliza Lakin (1837 - 1900), becoming a part-time farmer and raising four children at Walnut farm in Barrow upon Trent.[1] After Eliza's death in 1900, he moved to Kirk Ireton and later married fellow artist Kate Stevens Smith (1871-1964) - they set up home in Idridgehay where he died in 1910. His son William Lakin Turner (1867-1929) also became a landscape oil painter of repute. Turner worked in oils and painted bucolic scenes mainly of his native Derbyshire, leaving an important legacy of hundreds of pictures depicting the English countryside before the coming of mechanisation, the motor car and urban expansion. His work was exhibited in Nottingham and Birmingham. Turner served on the Art Committee of Derby Art Gallery and both his and his son's paintings are included in the city's collection.
George goodwin kilburne
1839-124 was a London based genre painter specialising in accurately drawn interiors with figures. He favoured the watercolour medium, although he did also work in oils, pencil and in his early career engraving.George was born on the 24th July 1839 in Norfolk. He was apprenticed for five years to the Dalziel brothers in London, studying wood engraving. He married Jenny Dalziel, the daughter of Robert Dalziel - they had three sons and two daughters: George Goodwin Jnr who also became an artist; Charles Robert, William Richard, Florence and Mary Maud. They all lived together at Hawkhurst House, Steeles Road, Hampstead. George abandoned wood engraving for the more versatile and profitable mediums of watercolour and oil painting. His apprenticeship in engraving enhanced the accuracy and detail of his paintings. He quickly became on of the most sought after and well known artists in England. George's wife Janet died in March 1883 and George later married Edith Golightly with who he had two girls, Constance Ivy and Edith May. George's paintings often portrayed the upper classes and ultra-fashionable female beauties in opulent settings. His depiction of this beauty was heightened by his attention to detail with dress, and richly decorated interiors.