J.M.W.TURNER
“Turner outgrew theatrical extravagance but the essential sublimity of the forces that hold man in their grip remained with him always. There is a sense of it in the all-embracing flood of light that envelops a scene, and the spectator too. The last subjects of storm and catastrophe make visible a dream of peril and endurance that is full of heroic exaltation.”
The Slave Ship, 1840
Turner was influenced by anti-slavery during this time of his life, as seen in his original title Slavers Throwing Over the Dead and Dying, Typhoon Coming On . This painting also shows the struggle between civilization and nature. Likewise, it demonstrates sublimity through the heightened fear of the small people surrounded by the vast, turbulent sea. Turner shocked his audience in his poem that accompanied this painting.
Aloft all hands, strike the top- masts and belay;
Yon angry setting sun and fierce-edged clouds
Declare the Typhon’s coming.
Before it sweep your decks, throw overboard
The dead and dying – ne’er heed their chains.
Hope, Hope, fallacious Hope!
Where is thy market now?
Rain, Steam, and Speed 1844
Turner liked to physical experience the types of scenes he depicts. For Rain, Steam, and Speed Turner apparently stuck his head out of the speeding train in the pouring rain and then painted his experience. He uses the light to blur the image to make it seem like the viewer is on a fast train.
Fisherman at Sea, 1796
This painting exemplifies why Turner was called the “painter of light.” It also shows that Turner was ahead of his time – the light drenched atmosphere paintings became popular during Impressionism in the late 19th century.
Fishing Boats Bringing a Disabled Ship into Port Ruysdael 1827
Ruskin commented, “I know of nowhere at all comparable for the expression of the white, wild, cold, comfortless waves of northern sea.”
Although Turner excelled in painting, he dabbled in some poetry as well. Despite its unpopularity at the time, his poetry helps us today understand his paintings.
Howling the wild south west with boistrous sweep
Lash the rude shore that rising from the deep
Presents a bristled front Basaltic like or ranged
Rock piled on rock in many forms arranged
Disjointed looks and seeming promiscous thrown
By ature’s hand yet the water owns
A Power supreme on the upmost stones
Snow Storm – Steam Boat off a Harbor’s Mouth Making Signals in Shallow Water1842
The legend has it that Turner had himself tied to the mast of the ship so he could witness the storm at sea firsthand. Ruskin commented that Snow Storm was “one of the very grandest statements of sea – motion, mist, and light that has ever been put on canvas.”
Goldau 1841
Turner painted Goldau after the Swiss village (Goldau) was buried by an avalanche in 1806. 450 people were killed in the accident. The painting shows the village rebuilt, but the blood red sunset highlights the tragedy. Here, Turner uses lighting to highlight a rather dark subject.
Burning of the Houses of Parliament 1834
Turner witnessed this event and saw the chaos it created. He admitted to exaggerating the flames, but uses the explosion of color to heighten the drama. Turner includes people to emphasize human insignificance to the destructive forces of nature.
posted by Felix at 11:02 a. m.
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