Page 11 - International Iconic July 2024

J M W

TURNER RA

J oseph Mallord William Turner, commonly known as J M W Architectural, and Marine, aimed to underscore the emotive
Turner, is celebrated as one of the foremost figures of English
power and expressive breadth of landscape art.
Romantic art. His enduring legacy, encapsulated by the Turner’s wanderlust significantly influenced his artistic
moniker ‘the painter of light,’ highlights his profound fascination development. His first journey abroad in 1802 took him through
with the interplay of light and colour in his landscapes and France to Switzerland, and upon returning, he studied extensively
seascapes. Turner’s artistic repertoire spans watercolours, oils, in the Louvre. From 1817, he traversed the Low Counties and later
and engravings, with each medium showcasing his evolving style more frequently Europe, particularly Venice and Rome in Italy,
and innovative techniques. which left a lasting impact on his work. His travels within the British
Born in 1775 in London, Turner demonstrated prodigious Isles became less frequent post-1831.
artistic talent from an early age. His father, a barber and wigmaker, Turner’s collaboration with publishers of illustrated books
recognised and nurtured his son’s abilities, proudly proclaiming, from 1827 to 1835 bolstered his reputation as a topographical
“My son is going to be a painter.” Turner’s formal education in watercolourist. His approach involved sketching from nature
art began when he entered the Royal Academy Schools at just primarily in pencil, amassing a trove of ideas to be revisited and
14 years old in 1789. His early works adhered to the 18th-century developed into finished works much later. This method reflects
topographical tradition, but he drew inspiration from the 17th- Turner’s commitment to elevating landscape painting to the stature
century Dutch masters like Willem van der Velde and the Italianate of ideal art, akin to history painting. His experimental approach in
landscapes of Claude Lorrain and Richard Wilson. both watercolours and oils saw him pioneering various techniques,
Turner’s career trajectory was swift and impressive. He pushing the boundaries of the medium.
exhibited his first watercolours at the Royal Academy’s Annual The 1830s marked a shift in Turner’s oeuvre towards darker

“The contemplation of nature can free the mind from everything.”

Exhibition in 1790, only a year after joining the RA Schools. By themes. His Venetian scenes, once vibrant, began to depict the
1796, he had showcased his first oil painting, and in 1799, at the city as a decaying relic. His portrayal of the Houses of Parliament
age of 24, he was elected an Associate Member of the Royal engulfed in flames, a scene he witnessed firsthand from a boat on
Academy. By 1802, Turner had ascended to the status of a full the Thames, exemplifies this darker turn. Perhaps his most iconic
Academician. His involvement with the Royal Academy was deep work, ‘The Fighting Temeraire’ (1839), epitomises this period. The
and multifaceted; he not only exhibited regularly at the Summer painting poignantly depicts the once-mighty warship, instrumental
Exhibition but also served on the Council and was Professor of in the Battle of Trafalgar, being towed to its final resting place,
Perspective from 1807 to 1837, occasionally even stepping in for symbolising the inexorable march of time and progress.
the Academy’s President. In 1845, Turner’s contributions to the Royal Academy
The Royal Academy of Turner’s time esteemed history culminated in his election as Acting President. However, declining
painting above all other genres. Turner, however, sought to health forced his retirement just a year later. His public presence
elevate landscape painting, demonstrating its potential to convey waned, and he often adopted disguises and pseudonyms, while
historical, religious, and literary themes with equal profundity. in London, reflecting a growing dishevelled appearance and
His ambition to establish a Professorship of Landscape Painting increasing paranoia. This period of seclusion did not dampen his
within the Academy remained unfulfilled, possibly fueling his creativity. Works like ‘Sisteron from the North West, with a Low
dedication to the Liber Studiorum (1807-1824). This series of prints Sun’ exemplify the rough brushwork and muted palette that would
categorised into Historical, Pastoral, Epic Pastoral, Mountainous, later inspire the French Impressionists.