Who is JMW Turner and why is he so important?

Joseph Mallord William Turner ranks among the most famous British artists today and celebrates today with landscapes that disrespectfully ignorant of the light and colors of his 19th-century contemporaries. His radical legacy lasts until the Turner Award, awarded annually to contemporary British artists. He also showed a suitable tribute on the 20-pound note in England, a tribute from an artist, despite the sometimes rising capitalism and the growing industry. On this year’s 250th birthday, international institutions are celebrating his diverse and prolific work.

The son of the barber Turner (1775–1851) entered the Royal Academy School in London in 1789, where he spent a lot of time copying plaster castings of classical sculptures before continuing to learn about the life of male nudes. He became a masterful draftsman, hidden from his later paintings – in his early career he worked in the studios of several architects, perfecting his skills.

It is in watercolor that he first distinguishes himself, and at a time when the British media is becoming more and more important in importance, Turner will continue to produce watercolor landscapes throughout his career. His ability to control both the watercolor tones and to make it shine into an unprecedented purpose of expression is evident Gideborg Monasterywhich makes the ruins of medieval monastery with the daily work of local washing machines.

Oil painting is considered the most outstanding art form of Turner’s era, and the ambitious artist demonstrated his savvy understanding of the art market for the first time in oil. Fishermen at sea Knocking in the British maritime identity while allowing Turner to explore the dark night sky with the glowing moon and its lighting on the waves. Although two small fishing boats were carefully drawn, with details from the draftsman, the possibility of painting to communicate movement was explored in Rising Swell Turner, a subject he pursued throughout his career.

After this precocious start, Turner painted almost uninterruptedly over the next 60 years, producing more than 500 oil paintings as well as thousands of watercolors, paintings and sketches. In 1802, he was elected to the Royal Academy at the age of 26, the youngest member of all time. Despite his growing number of famous people as an artist, he received only one royal commission, when George IV asked him to fight the Battle of Trafalgar in 1822. The battle in 1805 was a signal event of the Napoleonic War, which led to the decisive victory of the British and the death of Horatio Nelson, vice-chancellor, one of the greatest heroes of the United States.

Turner was interested in the grand painting of historical importance, and his challenge swept through the enormous canvases filled with rolling sails, swirling smoke and visible chaos of sea battles. Once completed, however, some raised questions about its historical inaccuracy, including Turner confusing different moments of the battle and leaving Nelson himself invisible. The painting is also morally ambiguous in the war, emphasizing the winning cost of bloodshed visible in the on-site prospect. Battle of Trafalgar After 18 months of conservation efforts at the National Maritime Museum, it will return to view at Queens House in Greenwich in October.

The brief period of peace between France and Britain between 1802 allowed Turner to travel to the mainland, where he stared at the Swiss Alps and studied old master paintings in the Louvre. But when foreign travel was once again restricted by the Napoleonic Wars, Turner and his customers turned their attention to the UK, which attracted interest in the landscape. Between 1827 and 1838, many Turner Picturesque scenery in England and Wales. These prints allow Turner to distribute his work more widely and secure his reputation (and his wallet).

The terrain scenery attracts British landscapes with dramatic lighting and atmospheric influences, perhaps the most shocking in the scene where Stonehenge swept the storm, with a shepherd and his flock hit by lighting. The watercolor study of Stonehenge engraving is through Tate’s online catalog of artist works and will be completed this year. The so-called Turner bequest forms the basis of the catalogue, the result of the will of the artist’s competition – he hopes his enormous wealth can be used to support poor landscape painters, but his relatives object and ultimately claim the money, and the artwork is attributed to the nation.

The focus on sheep – their twisted bodies, the blurred texture of the coat, the hint of their performance – was engraved with a Stonehenge view, suggesting Turner’s surprising interest in the animal world, the theme of the exhibition at Sandycome Lodge in Twickenham, once the artist’s countryside (once built by his own designer) and a design museum of its own. Until October 26, “The Kingdom of Turner: Beauty, Birds and Wild Beasts” conducted a sophisticated study that revealed Turner’s careful consideration of the natural world, even as his work became increasingly expressive.

Turner’s life was similar to the explosive developments of the industry in the 19th century, including the emergence of rotating plants, steamboats and railways, and he benefited from the sponsorship of new currency industrialists. His 1820s paintings are regularly made of black stains of steam travel, and the plumes of coal paint flow into other radiant skys. He celebrates the blistering speed in this new era Rain, steam and speed – Great Western Railwayplace the train in the foreground, with tiny hares on the left, which is a symbol of natural speed. In recent years, scientists have used Turner’s work as a document on environmental degradation. Whether Turner consciously interacts with pollution ethics remains a debate, but in his love of the atmosphere, his work inevitably captures the ever-changing climate in Britain.

One of Turner’s most prominent British contemporaries was John Constable (1776-1837), and the two talked in their time. In response to Turner’s tendency to enhance his work a few days before the exhibition’s opening, known as “Varnish Day”, the officer complained: “He came here and fired a gun.” Turner’s muscular sublime is usually against the quiet picturesque scenery of Constable, and audiences will have the opportunity to compare the two themselves at the “Turner and the Police” exhibition in London in November.

Both artists were present when the House of Parliament in London burned in October 1834, although Turner’s bombing brushes were more suitable for the spectacular flames and rage. To capture the extraordinary intensity of the fire, Turner relied heavily on Megilp, which allowed him to better manipulate his paint and build layers of highlights, but then led to the painting becoming darker. Turner often uses experimental media to make industrialization not only his works, but also his works. His bright colors are the result of new synthetic products, many of which are unstable and fade over time.

Like all good modern artists, Turner is condemned by conservative critics who are not prepared for the “blistering insanity” they encounter in the canvas, which they see as “art…turned to madness.” But he also has a staunch advocate among artist and writer John Ruskin. Ruskin first came to Turner’s defense when the emerging critic was only 17 years old. In response to negative comments, Ruskin wrote that Turner was “a shooting star, sprinting on a path of glory, all of which may be admired, but no one can follow.”

Ruskin elaborates on Turner Modern paintera five-volume work, published between 1843 and 1860. Ruskin at Turner [the spectator] Share your strong feelings and quick thoughts; hurt him with your passion; guide him to all beautiful places. He was taken away from the foundation. And he was very happy, – in not only seeing a new scene, but also communicating with new ideas, and giving people a keen emotion and a more penetrating intelligence with keen perception and shocking emotions. ”

It is what Turner left behind from his views that allow them to communicate this way, and the roughness of his image invites the audience’s imagination. A picture like this is a study, especially in the execution, especially loose images, all painted in the contemporary of Margate’s Turner. Waves in Margate Show artist from Fishermen at searelying on the sparseness highlighted by white, gesture strokes to convey the direction and energy of the waves.

Ruskin is the first owner of one of Turner’s most notorious photos, Slave ship (slave throws the dead on the ship, dying, a typhoon is coming). Tipped by the growing abolition movement in Britain, Turner is based on painting Zonga slave captain threw his human cargo onto the ship in an attempt to recover insurance funds. The painting centered on the fiery sunshine, seems to have deliberately attracted attention from the human suffering of the foreground – the limbs of the chain protrude from the depths. The tension between beauty and horror leads William Thackeray to demand: “Is the picture noble or ridiculous? Indeed, I don’t know which.” Contemporary poets, including M. Nourbese Philip and David Dabydeen, criticize Turner for his criticism of the very real victims of the Holocaust.

Turner rarely leaves clear statements about his personal shares in political or social affairs. Instead, he effectively inhabited the environment of the times, a time when the world is fundamentally reconfigured and replaced by modern innovation (substituted by modern innovation (by Fighting Temeraire pulls her last berthone of the elderly ships deployed in the Battle of Trafalgar in the Battle of Trafalgar was towed to the final resting place by the steamer. Instead of choosing sides, Turner sets both forces in action, with dynamic and spectacular results.