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J.M.W. Turner

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J.M.W. Turner, in full Joseph Mallord William Turner, (born April 23, 1775, London, England—died December 19, 1851, London), English Romantic landscape painter whose expressionistic studies of light, colour, and atmosphere were unmatched in their range and sublimity.

Early life and works

Turner was the son of a barber. At age 10 he was sent to live with an uncle at Brentford, Middlesex, where he attended school. Several drawings dated as early as 1787 are sufficiently professional to corroborate the tradition that his father sold the boy’s work to his customers. Turner entered the Royal Academy schools in 1789 and soon began exhibiting his watercolours there. From 1792 he spent his summers touring the country in search of subjects, filling his sketchbooks with drawings to be worked up later into finished watercolours. His early work is topographical (concerned with the accurate depiction of places) in character and traditional in technique, imitating the best English masters of the day. In 1794 Turner began working for engravers, supplying designs for the Copper Plate Magazine and the Pocket Magazine. He was also employed to make copies or elaborations of unfinished drawings by the recently deceased landscape painter John Robert Cozens. The influence of Cozens and of the Welsh landscape painter Richard Wilson helped broaden Turner’s outlook and revealed to him a more poetic and imaginative approach to landscape, which he would pursue to the end of his career with ever-increasing brilliance.

From 1796 Turner exhibited oil paintings as well as watercolours at the Royal Academy. The first, Fishermen at Sea (1796), is a moonlight scene and was acclaimed by a contemporary critic as the work “of an original mind.” In 1799, at the youngest permitted age (24), Turner was elected an associate of the Royal Academy, and in 1802 he became a full academician, a dignity he marked by a series of large pictures in which he emulated the achievements of the Old Masters, especially the 17th-century painters Nicolas Poussin, Claude Lorrain, Aelbert Cuyp, and Willem van de Velde the Younger. In 1807 he was appointed professor of perspective.

Turner’s private life, such as it was, was secretive, unsociable, and somewhat eccentric. In 1798 he entered into an affair, which was to last about 10 years, with Sarah Danby, a widow who probably bore him two children. In 1800 Turner’s mother became hopelessly ill and was committed to a mental hospital. His father went to live with him and devoted the rest of his life to serving as his son’s studio assistant and general agent. Also about 1800 Turner took a studio at 64 Harley Street, London, and in 1804 he opened a private gallery, where he continued to show his latest work for many seasons. He was by this time overwhelmed with commissions, and the success of his career was assured.

Turner continued to travel in search of inspiration. He visited Wales in 1792, 1795, and 1798, Yorkshire and the Lake District in 1797, the Midlands in 1794, Scotland in 1801, and the European continent for the first time in 1802. The crossing to Calais was rough, and in his picture Calais Pier (1802–03) he left a vivid record of his experience upon arrival. He made more than 400 drawings during this tour of France and Switzerland and continued for many years to paint pictures of scenes that had impressed him on the trip. He also studied the Old Masters at the Louvre.

Turner’s many marine subjects, in which he dramatically builds upon the foundation of the Dutch 17th-century tradition, reveal his methodical attempt to master every landscape style he admired and the ease with which he accomplished this. The rivalry he felt with painters who had influenced his style is suggested by his bequest to the National Gallery of his Dido Building Carthage, or the Rise of the Carthaginian Empire (1815) and Sun Rising Through Vapour: Fishermen Cleaning and Selling Fish (1807) on condition that they be hung beside his two favourite Claudes. However, the treatment of landscape in the Thames oil sketches of about 1805 and in The Shipwreck (1805) suggests that at this time Turner was developing his original approach to landscape—emphasizing luminosity, atmosphere, and Romantic, dramatic subjects.

In 1807 Turner began his great enterprise of publishing a series of 100 plates known as the Liber Studiorum, inspired, in part, by Claude’s own studio record, Liber veritatis (begun in 1635 and continued until his death in 1682). Turner’s aim was to document the great variety and range of landscape; some of the subjects were taken from his own existing paintings and watercolours. He employed several engravers, although he supervised the work at every stage, etched some of the plates himself, and made innumerable preparatory drawings. The publication was issued in parts consisting of five plates each and covering all the styles of landscape composition, including historical, architectural, mountainous, pastoral, and marine. The first part appeared in June 1807 and the last in 1819, when Turner evidently lost interest in the project and abandoned it after the publication of 71 plates.

Middle years

During the second decade of the 1800s, Turner’s painting became increasingly luminous and atmospheric in quality. Even in paintings of actual places, such as St. Mawes at the Pilchard Season (1812), the hard facts of topography are diffused behind pearly films of colour; other pictures, such as Frosty Morning (1813), are based entirely on effects of light. In works such as Snowstorm: Hannibal Crossing the Alps (1812), Turner used the power of natural forces to lend drama to historical events. Turner was much in demand as a painter of castles and countryseats for their owners, while he also continued to excel in marine painting. Turner’s masterpiece of this period is the Dort, or Dordrecht: The Dort Packet Boat from Rotterdam Becalmed (1818), a tribute to Cuyp.

With Dido and Aeneas, Leaving Carthage on the Morning of the Chase (1814), Turner began a series of Carthaginian subjects. The last exhibitions of his life, at the academy in 1850, included four works on the same theme. By appending long poetic quotations from James Thomson’s “Seasons” (1726), from works by Lord Byron, John Milton, William Shakespeare, and Alexander Pope, or attributed to his own poetic composition Fallacies of Hope (never completed), Turner showed that he regarded the literary-historical interpretation of his works as being of paramount importance.

The coming of peace in 1815 allowed Turner to travel abroad. After a trip to the field of Waterloo and the Rhine in 1817, Turner set out in the summer of 1819 on his first visit to Italy. He spent three months in Rome—also visiting Naples, Florence, and Venice—and returned home in midwinter. During his journey he made about 1,500 drawings, and in the next few years he painted a series of pictures inspired by what he had seen. They show a great advance in his style, particularly in the matter of colour, which became purer and more prismatic, with a general heightening of key. A comparison of The Bay of Baiae, with Apollo and the Sibyl (1823) with any of the earlier pictures reveals a far more iridescent treatment resembling the transparency of a watercolour. The shadows are as colourful as the lights, and he achieves contrasts by setting off cold and warm colours instead of dark and light tones.

Interesting facts about Joseph Mallord William Turner

Joseph Mallord William Turner (regularly abbreviated to J.M.W. Turner) was a British landscape artist who was known as the «Painter of Light». With an expansive scope of compositions, he painted with a iridescent style that gave his works a liquid quality. He utilized his artistic talents to portray the compelling force of nature in his own authentic style.

J.M.W. Turner Paintings

Facts about J.M.W. Turner

Here are the Interesting facts about Joseph Mallord William Turner:

1. He was the child of a stylist and wig producer.

Turner was conceived in London around 1775 and his complete name was Joseph Mallord William Turner. The youthful Turner had a passion for drawing and his dad offered his clients a few of Turner paintings for a couple of shillings each.

At the age of ten, due to his mother’s mental illness, Turner was sent to live with an uncle.

Joseph sold his first painting at age thirteen. Turner attended the drawing classes of Thomas Malton, an English painter of topographical and architectural views. Turner later called Malton his “real master”.

In Turner’s later years, his dad lived with him and filled in as his cook, gardener, and studio colleague.

2. He formally started his vocation at the Royal Academy of Arts at a young age.

At 15 years old he had painted a watercolor composition that was highly acknowledged by the Royal Academy of Arts. A couple of years after that, his first oil painting was on display. Turner was also chosen as a partner/teacher at the Royal Academy of Arts at the young age of twenty-four.

He gave private lessons/exercises and got years of experience as an educator. Eventually, Turner accepted a position as professor at the Royal Academy, where he lectured until 1828. The school facilitated his first presentations and compositions and kept it on display until he died.

Fishermen at Sea by J. M. W. Turner

(Painted at the age of 14)

3. Turner effortlessly enjoyed painting various landscapes styles.

His initial style was exceptionally classical and imitated the old masters. He was often contracted to imitate or copy incomplete drawings of John Robert Cozens, a landscapist who was popular during his time. Turner appeared to be competing against himself and he drew motivation from his own paintings.

One of the reasons that Turner was so remarkable was because he enjoyed drawing and painting ‘en Plein air’, which means out in the open. This was unique in Turner’s day as most artists painted in their studios. Turner carried his sketchbooks, canvases, and paints with him almost every day and he painted what he would see all the time.

4. His art composition incorporated various drawings from all around the world.

Turner went to Italy, France, Switzerland, Germany, Denmark, and Czechoslovakia. Despite being a voyager compared to his peers, he never lost his Cockney intonation and stayed a genuine Londoner.

5. Turner inspired various contemporary Danish-Icelandic artists.

Olafur Eliasson states «I have carefully dissected the amount of color tones, darkness and brightness in a group of Turner paintings, and then made a kind of ‘color chart portrait’ of each one, using the exact same colors and amount of light and darkness.»

Olafur Eliasson being a prominent Danish-Icelandic artists.

6. His dying wish was to advance art and give opportunity for future generation of artists.

Turner utilized his wealth to help other «artists», most of his £140,000 fortune was given to his far off family members because of their claim to it. However, he gave his paintings to the National Gallery, so they maybe displayed in a different exhibitions.

57 years after his passing, a significant number of his oil paintings were at long last moved to the Tate Gallery. In memory of J. M. W. Turner the Tate Gallery gives The Turner Prize grant to visual artists younger than 50 years of age.

7. J. M. W. Turner is one of the most famous British painters.

He is known today for his sentimental landscapes and seascapes and is frequently recognized as one of the most famous landscape artists.

He created more than 500 oil paintings, more than 2,000 watercolors paintings and more than 30,000 drawings during his life. Some of his famous works include Rain, Steam and Speed, The Fighting Temeraire, and Fishermen At Sea.

Rain, Steam, and Speed – The Great Western Railway by J. M. W. Turner

8. At age 18, he was rich enough to have his own London studio.

He enjoyed painting storms, landscapes, and current events in his own private studio. He even hurried to the Houses of Parliament when he heard that it was ablaze, to catch the flares in his painting.

9. A significant number of Turner’s paintings have an emotional motif of light vs darkness.

His utilization of light influenced many Impressionist artists who began painting towards the end of the nineteenth century.

10. Turner frequently drank a great deal, drinking a few pints of rum within a day.

He some times applied stale brew to his paintings and even spat on them to make them look progressively old.

11. J. M. W. Turner voyaged a ton into France, Italy, and Switzerland.

Turner continued to travel in his later years, visiting Italy, Germany, Denmark, and Czechoslovakia. He had a passion for traveling and painting. Especially painting the cathedral in Venice, it’s one of his most famous works: The Grand Canal Venice, painted in 1835.

12. Turner died in 1851 in London.

As he was passing away, in Westminster Abbey he was surrounded by numerous scholars, artists, and researchers.

He had two little girls from the Sarah Danby. In his later life, Turner imparted his home to widow Sophia Caroline Booth.

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What did William Turner die of?

Turner died of cholera at the home of Sophia Caroline Booth, on December 19, 1851. He is buried in St Paul’s Cathedral, where he rests near Sir Joshua Reynolds. He lived for 76 years (1775–1851).

J. M. W. Turner Quotes

The Slave Ship by J. M. W. Turner

«If I could find anything blacker than black I’d use it.»- J. M. W. Turner

— Quote from Turner’s lectures, 1811; as cited in Life and Work of J.M.W. Turner, Andrew Wilton; London: Academy Editions, 1979; as quoted in ‘A brief history of weather in European landscape art’, John E. Thornes, in Weather Volume 55, Issue 10 Oct. 2000, p. 367-368

J. M. W. Turner Legacy

J. M. W. Turner is regarded by countless art historians as one of the greatest landscape artists in history. His paintings have had a major influence on various artists to come after him.

In his beginning compositions, Turner ventured to master other techniques he admired and respected, such as realism, by studying the methods of Willem van der Velde and Claude Lorrain. Turner became fascinated by nature: Sunlight, storm, rain, and fog. His compositions revolved around light in perpetual variations. Furthermore, his artwork presented some of the ideas of the impressionists years before they came on the scene.

Monet, in particular, studied Turner’s techniques. To get the right impression into his compositions, Turner would bound himself to ship’s during storms, so that he could see what it was like. Some of his most famous paintings show the severity of nature, with bleak landscapes and violent storms.

Snow Storm: Steam-Boat off a Harbour’s Mouth by J. M. W. Turner

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J.M.W. Turner | 10 Facts On The British Landscape Artist

Joseph Mallord William Turner was an English painter who is famous as one of the greatest landscape artists in history. Born in a poor family in London, Turner showed signs of his genius at an early age and went on to become one of the leading painters of his time. He was also known to be an eccentric and had a couple of controversial affairs. Turner is called “the painter of light” due to his mastery in capturing the effects of atmosphere and light; and he is perhaps the most renowned British artist ever. Know about the family, life, art, career, achievements and death of J.M.W. Turner through these 10 interesting facts.

#1 His mother was mentally ill and had to be admitted to the infamous Bedlam

J.M.W. Turner was born in 1775 in the district of Covent Garden in London. The exact date of his birth is not known with certainty though he himself claimed it was April 23. He was the first and only child to survive till adulthood of William Turner, a barber and wig maker, and his wife Mary Marshall. Turner was named after his maternal uncle Joseph Mallord William Marshall, a butcher in Brentford, Middlesex. His parents had another child, Mary Ann, in 1778, but she died in 1783. Mary Marshall had an ongoing struggle with mental illness. The death of her daughter worsened her condition and in 1800, she was admitted to the Bethlem Hospital or Bedlam, an infamous mental asylum. She died there on 15th April 1804.

#2 His father sold Turner’s teenage drawings from his barber shop

In 1785, due to his mother’s mental illness, the 10 year old William was sent to live with his maternal uncle, after whom he was named, in Brentford. The following year he was sent to live with another relative in the town of Margate in Kent. William attended John White’s school in Brentford and the school of Thomas Coleman in Magrate. Though he received little formal schooling, Turner began to show his talent in art from an early age and by the time he was thirteen, his father began to sell his drawings by displaying them in his barber shop. In 1789, Turner attended the drawing classes of Thomas Malton, an English painter of topographical and architectural views. Turner later called Malton his “real master”.

#3 Turner had a long association with the Royal Academy of Arts

In December 1789, at the age of 14, J.M.W. Turner was admitted at the Royal Academy of Art schools. In 1793, he was awarded the “Great Silver Pallet” for landscape drawing by the Royal Society of Arts. In 1796, Turner exhibited his first oil painting at the Royal Academy which was titled Fishermen at Sea. The painting was praised by contemporary critics and established his reputation. In 1799, at the youngest permitted age of 24, Turner was elected an associate of the academy, and in 1802, he became a full Royal Academician. In 1807, Turner accepted the position of Professor of Perspective at the Royal Academy, a post he held on to for 30 years till 1837, though he gave his last perspective lectures in 1828.

Fishermen at Sea (1796) – The first oil painting exhibited by Turner at the Royal Academy

#4 His love affair with Venice produced some of his greatest masterpieces

J.M.W. Turner travelled extensively in search of inspiration for his work. He visited Wales, Yorkshire, the Midlands and Scotland from 1792 to 1801. In 1802, he travelled to France and Switzerland making more than 400 drawings. He first travelled to Italy in 1819 making around 1,500 drawings. Turner painted for years from what impressed him during his trips. He was particularly inspired by Otley in Yorkshire and Venice. He first visited Otley in 1797 and returned to visit the town and its surrounding area throughout his career. He first visited Venice in 1819 and returned to it many times in the next 20 years. Venice was a major theme of Turner’s mature period and it is part of some of his greatest masterpieces.

Venice, from the Porch of Madonna della Salute (1835) – Turner’s most famous painting of the city

#5 His art is considered a forerunner to Impressionism

In his early career, Turner was influenced by British Romantic landscape artists John Robert Cozens and Richard Wilson. Style of Cozens, especially his treatment of light, had a lasting impact on Turner; while Wilson’s art revealed to him a poetic approach to landscape. Turner was also inspired by other artists including Dutch marine painter Willem van de Velde the Younger. He mastered every landscape style he admired while developing his own unique style. The artistic techniques he employed in his mature period influenced the famous art movement Impressionism, which began in France and spread through the western world. The Impressionists, including Claude Monet, carefully studied the art of J.M.W. Turner.

Rain, Steam and Speed (1844) – One of Turner’s paintings which is considered a forerunner to Impressionism

#6 J.M.W. Turner is known as the painter of light

In the early phase of his artistic career, Turner paid precise attention to architectural and natural details. In the 1810s his landscapes became increasingly luminous and atmospheric in quality and his focus shifted on colour rather than the details of the actual topography. As time progressed, Turner gave less and less attention to detail, and more to the general effects of colour and light. His compositions became more fluid with mere suggestion of movement. These colourful abstractions of his mature period were more appreciated in future generations. Due to his pioneering interpretations of light and colour in his art, J.M.W. Turner is famous as “the painter of light”.

Rome, From Mount Aventine (1835) – J.M.W. Turner

#7 He was known to be eccentric and unsocial

Turner was known for his eccentricities which grew with his age. He was a habitual user of snuff. Once he took a still wet picture to the Royal Academy and then, seeing it in a new light, took out his snuffbox and smeared powdered tobacco on the canvas. Turner was known to be unsocial and secretive. He did however have a close relationship with his father, who lived with him and worked as his studio assistant for thirty years. The death of his father in 1829 had a deep impact on Turner. It made him more eccentric and prone to bouts of depression. He held exhibitions but begrudgingly sold his paintings, with their loss landing him in prolonged states of dejection.

Self-Portrait of J.M.W. Turner (aged 24, 1799)

#8 Turner most probably denied paternity of his illegitimate daughters

At the age of twenty five, J.M.W. Turner began a love affair with Sarah Danby, who was a widow of one of his friends and 10 years elder to Turner. They had an on-off relationship which lasted for around fifteen years. Sarah Danby gave birth to two daughters, Evelina in 1801 and Georgiana in 1811. Although Turner refused to acknowledge paternity of Danby’s children, it is now widely believed that he fathered them. Turner also hired a 23-year old relation of Sarah, named Hannah Danby, who worked as his housekeeper for 40 years until his death. While his supposed daughters received small bequests upon Turner’s death, Hannah received a significant annuity and custodianship of his pictures.

#9 He was known as Mr Booth in Chelsea

In later life, J.M.W. Turner had a relationship with Sophia Caroline Booth, an independent widow 25 years his junior. Their relationship, which lasted till the end of his life, was the closest Turner came to domestic life. Turner brought Sophia a riverside cottage in Cheyne Walk, Chelsea. He was known there as ‘Mr Booth’ and ‘the Admiral’; while when he was away he kept up appearances as the famous artist. Turner died on 19th December 1851 in the house of Sophia Booth in Chelsea. He was 76 years old and his last words are said to be “The Sun is God”. It was only after his death that people in the locality realized who he really was. At his request, Turner was buried in St Paul’s Cathedral in London.

#10 Turner’s masterpiece The Fighting Temeraire was voted as Britain’s favorite painting

J.M.W. Turner stayed true to the genre of landscape throughout his career and elevated it to be considered by critics at par with the more renowned genre of history painting. He is considered one of the greatest landscape artists of all time and is perhaps the most renowned British painter. The prestigious annual Turner Prize art award, which was created in 1984, is named in his honor. In 2005, Turner’s 1838 masterpiece, The Fighting Temeraire, was voted Britain’s favorite painting in a poll organized by the BBC. In April 2016, the Bank of England announced that J.M.W. Turner would appear on the next issue of the £20 note.

The Fighting Temeraire (1839) – Turner’s most famous painting

Joseph Mallord William Turner

This English painter and engraver was born in London on April 23, 1775. After a sporadic elementary education Turner devoted himself to the study of art and entered the Royal Academy schools in 1789. He was elected a member of the Academy in 1802, and, as a teacher from 1808 of an Academy course in perspective, he exert­ed a powerful influence on the development of English landscape engraving. He travelled a great deal, especially in Italy, and found inspiration for many of his later paintings in Venice. His ardent ad­mirer, John Ruskin, devoted some of the most eloquent passages of «Modern Painters» to a description of his work. Trained by the sound architectural draughtsman and topographical artist Thomas Malton, Jr., and developing under the influence of the great En­glish seventeenth century landscapists, Turner extended English topographical painting beyond the antiquarian and reporting lim­its, transforming it into a Romantic expression of his own feelings. Graphically this took form most clearly in his hundreds of water- colours; in them spatial extent appears bathed with atmosphere and light. The effects he achieved in water-colours Turner trans­ferred to oil painting as well. His colours, often of high intensity, retain their relative values effectively and, when coupled with ac­curate drawing of shapes, as in the early «Derwenter» with the «Falls of Lodore» or the late «Norham Castle— Sunrise» are kept within control by the artist. In 1807, Turner began a series of etch­ings and mezzotints from his own drawings, for a book to be enti­tled Liber Studiorum. The work, discontinued in 1820, grew out of his admiration for Claude Lorrain’s Liber varietatis. Turner died at Chelsea on December 19th, 1851, regarded as the titular cofound- er, with Thomas Girtin, of English water-colour landscape paint­ing.

(From «Mozaika», No. 3, 1966)

Such extra stress singles out the nuclear word (or words) to em­phasize the attitudinal meaning. This type of sentence stress is called emphatic.

9. Listen carefully to the following conversational situations. Concentrate your attention on the nuclear word marked by the emphatic stress in the re­plies.’

But you don’t really mean to say that you couldn’t love me if my name wasn’t Ernest?

Yes, Mr. Worthing, what have you got to say to me?

Mamma! I must beg you to retire. This is no place for you. Besides, Mr. Worthing has not quite finished yet.

Do you smoke? — Well, yes, I must admit I smoke.

How old are you? — Twenty- nine.

Well, I own a house in Belgrave Square.

I was in a hand-bag — a somewhat large, black leather hand-bag, with handles to it — an ordinary hand-bag, in fact.

You know his brother has measles.

He ought to be isolated.

If you don’t believe me, look for yourself.

So you have done it at last.

Why didn’t you speak to my father yourself on the boat?

You had no right to speak to me that day on board the

Why does he help you like that?

But your name is Ernest.

You know what I have got to say to you. Finished what may I ask?

I am glad to hear it. A man should always have an occupation of some kind.

A very good age to be married at.

What number in Belgrave Square?

In what locality did this Mr. James or Thomas Cardew come across this ordinary hand-bag?

Most of the children here have had measles.

I have got him isolated — in a kind of way.

That may be your idea of isolation. I’m afraid it isn’t mine.

Yes, at least Cokane’s done it.

I didn’t particularly want to talk to him.

It was you who spoke to me. Of course I was only glad of the chance.

Because that’s the only way he can help me.

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Turner, Joseph Mallord William — Иностранный язык

Turner, John Mallord William (1775-1851). One of the finest landscape artists was J.M.W. Turner, whose work was exhibited when he was still a teenager. His entire life was devoted to his art. Unlike many artists of his era, he was successful throughout his career.

Joseph Mallord William Turner was born in London, England, on April 23, 1775. His father was a barber. His mother died when he was very young. The boy received little schooling. His father taught him how to read, but this was the extent of his education except for the study of art. By the age of 13 he was making drawings at home and exhibiting them in his father’s shop window for sale.

Turner was 15 years old when he received a rare honor—one of his paintings was exhibited at the Royal Academy. By the time he was 18 he had his own studio. Before he was 20 print sellers were eagerly buying his drawings for reproduction.

He quickly achieved a fine reputation and was elected an associate of the Royal Academy. In 1802, when he was only 27, Turner became a full member. He then began traveling widely in Europe.

Venice was the inspiration of some of Turner’s finest work. Wherever he visited he studied the effects of sea and sky in every kind of weather. His early training had been as a topographic draftsman. With the years, however, he developed a painting technique all his own. Instead of merely recording factually what he saw, Turner translated scenes into a light-filled expression of his own romantic feelings.

As he grew older Turner became an eccentric. Except for his father, with whom he lived for 30 years, he had no close friends. He allowed no one to watch him while he painted. He gave up attending the meetings of the academy. None of his acquaintances saw him for months at a time. Turner continued to travel but always alone. He still held exhibitions, but he usually refused to sell his paintings. When he was persuaded to sell one, he was dejected for days.

In 1850 he exhibited for the last time. One day Turner disappeared from his house. His housekeeper, after a search of many months, found him hiding in a house in Chelsea. He had been ill for a long time. He died the following day—Dec. 19, 1851.

Turner left a large fortune that he hoped would be used to support what he called «decaying artists.» His collection of paintings was bequeathed to his country. At his request he was buried in St. Paul’s Cathedral.