JMW TURNER

A Paddle-steamer in a Storm (detail) J. M. W. Turner

124 notes

animus-inviolabilis:

Vision of Medea
J.M.W. Turner

28 notes

nataliakoptseva:

Joseph Mallord William Turner

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peril:

Riders on a Beach (c.1835), Oil on board, Tate Britain, London | artwork by Joseph Mallord William Turner

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animus-inviolabilis:

Vision of Medea
J.M.W. Turner

28 notes

byrningdownthehouse:

Joseph Mallord William Turner - Rotterdam Ferry-Boat

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srpicken:

Turner from the Tate (by ArtGalleryOfSA)
Saw this recently - bold, inspirational and powerful. A privilege to see Turner’s original works.

7 notes

kecobe:

Joseph Mallord William Turner (British; 1775–1851)Rockets and Blue Lights (Close at Hand) to Warn Steamboats of Shoal Water
Oil on canvas, 1840
Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

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repeals:

Turner, Fishermen at Sea │Aivazovsky, The Black Sea at Night

(Source: ambervallettasforehead)

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#aivazovsky  

mucholderthen:

THREE LATE PAINTINGS BY TURNERJoseph Mallord William Turner  [1775-1851]
Paintings of Haunting Absence
As Linda Pastan says - alluding, I think, to the topmost painting - in her poem, “Turner, Late Painting”:
This almost empty
canvas
is sister
to an empty page
just as a poem
enters: white 

The poem goes on [read it here], but our attention has been drawn to the the overwhelming sense of absence in these three canvasses.  Sunrise with Monsters (on top) was completed in 1845, Approach to Venice in 1844.  I can’t find a date for The Exile and the Snail, but it portrays the same haunted emptiness.  As in the first painting, there is an orange glow that hints at a dawn.

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nataliakoptseva:

Joseph Mallord William Turner

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centuriespast:

Joseph Mallord William Turner (English, 1775–1851), Waves Breaking on the Beach. The Morgan Library.

(via josephespieldenner)

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janpadora-box:

Joseph Mallord William Turner “Raby Castle, the Seat of the Earl of Darlington” 1817,oil on canvas.
(via le-desir-de-lautre )

28 notes

that-is-why:

Joseph Mallord William Turner - Stormy sea breaking on a shore

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byrningdownthehouse:

Joseph Mallord William Turner - The Field of Waterloo

JMW TURNER

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J.M.W. Turner’s Slave Ship

The sea is on fire. Yellow, red, orange; color churns and spits. The sky spills into the ocean, the ship lifted and tossed. On the left, a storm builds, a fist ready to pound. Above the storm a dirty red smoke rises, as if the blue grey were not a storm but water on an angry furnace. And in the bottom right of the canvas, a shackled foot gracefully and terribly prepares to sink.

Joseph Mallord William Turner (English, 1775-1851) originally intended this painting to be titled “Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On.” It was painted in 1840 response to an incident in 1781 when an illness on the slave ship Zong caused the slavers to throw sick slaves overboard to their deaths, as their insurance covered the “losses at sea” and not losses from illness. The painting was sold to an abolitionist from Boston, where it has remained at the MFA Boston since 1899.

The painting is brighter and lighter than I remembered it. The right half of the canvas is almost a buttercream yellow. That perverse color moves clockwise over the canvas, caressing the drowning foot, continuing to mirror the sunset and finally rushing upwards again to join in the typhoon. Is that putrid buttercream simply formal, so that the canvas comes together in a cohesive whole? To think that in depicting horror, such things could even matter.

Murky brown and mud red, small upward strokes poke out of the gentle curve between breaking waves. The hands are very small, almost could be a texture in the stormy sea. But they have fingers.

This painting is scary. It is fairly small, but it hits you like a truck. It captures the violence of nature, both of humans and of the sea, in a revolting way. It is hot and messy and unforgiving. The light doesn’t make sense, it seems to release the colors of heaven and hell rather than those of the sea. A triumph in matching the terror of a moment.

More information about the work from the Museum of Fine Arts, Boston here

Image Information: Joseph Mallord William Turner (English, 1775-1851), Slave Ship (Slavers Throwing Over the Dead and Dying, Typhoon Coming On), oil on canvas, 35 3/4 x 48 1/4″ (via fotopedia)On view at the Museum of Fine Arts, Boston

Thank you all for reading my inaugural post on Art for Breakfast. Another work of art to come tomorrow – and the day after that, and the day after that!