Joseph Mallord William Turner

England, 1775 - 1851
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Joseph Mallord William Turner oil paintings
Joseph Mallord William Turner : The Brunig Pass, from Meringen
1847 - 1848, Watercolor on paper, 12 1/2 x 20 5/8 inches (31.8 x 52.7 cm), Public collection
Joseph Mallord William Turner : Heidelberg
c.1846, Watercolor on paper, 14 1/2 x 21 5/8 inches (37 x 55 cm), National Gallery of Scotland, Edinburgh, Scotland
Joseph Mallord William Turner : Brunnen, from the Lake of Lucerne
1845, Watercolor on paper, 11 1/4 x 18 3/4 inches (28.89 x 47.94 cm), Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA
Joseph Mallord William Turner : Rain, Steam and Speed, The Great Western Railway
1844, Oil on canvas, National Gallery, London, England
Joseph Mallord William Turner : Approach to Venice
1843, Oil on canvas, National Gallery of Art, Washington, DC, USA
Joseph Mallord William Turner : Peace,Burial at Sea
1842, Oil on canvas, Tate Gallery, London, England
Joseph Mallord William Turner : Snow Storm
c.1842, Oil on canvas, 36 x 48 inches (91.5 x 122 cm), Tate Gallery, London, England
Joseph Mallord William Turner : The Blue Rigi,Lake of Lucerne,Sunrise
1842, Watercolor on paper, 11 5/8 x 17 5/8 inches (29.7 x 45 cm), Public collection
Joseph Mallord William Turner : Giudecca, la Donna della Salute and San Georgio
1841,Oil on canvas,24 x 36 inches (61 x 91.5 cm),Public collection
Joseph Mallord William Turner : Goldau
1841, Watercolor on paper, 12 x 18 1/2 inches (30.5 x 47 cm), Public collection
Joseph Mallord William Turner : Ehrenbrietstein and Coblenz
1840, Watercolor on off-white wove paper, 9 x 11 inches (22.9 x 28 cm), Indianapolis Museum of Art, Indiana, USA
Joseph Mallord William Turner : Slavers Throwing Overboard the Dead and Dying,Typhoon Coming On
1840, Oil on canvas, 35 3/4 x 54 1/4 inches (91 x 138 cm), Public collection
Joseph Mallord William Turner : The Slave Ship
1840, Oil on canvas, Museum of Fine Arts, Boston, USA
Joseph Mallord William Turner : Ancient Italy,Ovid Banished from Rome
1838, Oil on canvas, 37 1/8 x 49 1/8 inches (94.6 x 125 cm), Public collection
Joseph Mallord William Turner : The Fighting 'Temeraire,tugged to her last Berth to be broken up
1838, Oil on canvas, National Gallery, London, England
Joseph Mallord William Turner : The Fighting' Temeraire, tugged to her last Berth to be broken up
1838, Oil on canvas, National Gallery, London, England
Joseph Mallord William Turner : The Parting of Hero and Leander from the Greek of Musaeus
c.1837, Oil on canvas, 57 3/8 x 92 7/8 inches (146 x 236 cm), National Gallery, London, England
Joseph Mallord William Turner : Rome from Mount Aventine
1836, Oil on canvas, 36 x 49 inches (91.6 x 124.6 cm), Public collection
Joseph Mallord William Turner : The Bright Stone of Honor,Ehrenbrietstein,and the Tomb of Marceau, from Byron's Childe Harold
1835, Oil on canvas, 36 1/2 x 48 3/8 inches (93 x 123 cm), Public collection
Joseph Mallord William Turner : The Burning of the Houses of Parliament
1834, Oil on canvas, Philadelphia Museum of Art, Philadelphia, Pennsylvania, USA
Joseph Mallord William Turner : The Burning of the Houses of Parliament II
1834, Oil on canvas, Cleveland Museum of Art, Cleveland, Ohio, USA
Joseph Mallord William Turner : The Burning of the Houses of Parliament III
1834, Oil on canvas, Philadelphia Museum of Art, Philadelphia, Pennsylvania, USA
Joseph Mallord William Turner : Wreckers,Coast of Northumberland
c.1834, Oil on canvas, 35 1/2 x 49 1/2 inches (90.47 x 125.89 cm), Yale Centre for British Art, Hartford, Connecticut, USA
Joseph Mallord William Turner : Staffa, Fingal's Cave
1832, Oil on canvas, 36 x 48 inches (91.5 x 122 cm), Yale Centre for British Art, Hartford, Connecticut, USA
Joseph Mallord William Turner : View over Town at Suset,a Cemetery in the Foreground
1832, Bodycolor on blue paper, 5 1/2 x 7 3/8 inches (14 x 19 cm), British Museum, London, England
Joseph Mallord William Turner : Fort Vimieux
1831, Oil on canvas, 27 7/8 x 42 inches (71.1 x 106.7 cm), Public collection
Joseph Mallord William Turner : Kenilworth Castle
c.1830, Watercolor on paper, 11 3/8 x 17 3/4 inches (29.2 x 45.4 cm), Museum of Fine Art, San Francisco, USA
Joseph Mallord William Turner : Rocky Bay with Figures
c.1830, Oil on canvas, 36 x 49 inches (91.5 x 124.5 cm), Tate Gallery, London, England
Joseph Mallord William Turner : Rocky Bay with Figures II
c.1830, Oil on canvas, 36 3/8 x 48 3/8 inches (92.5 x 123 cm), National Gallery, London, England
Joseph Mallord William Turner : Odysseus Deriding Polyphemus
1829, Oil on canvas, National Gallery, London, England
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Biography
Artist photo
Joseph Mallord William Turner was an English landscape painter who is renowned especially for his dynamic treatment of natural light effects in land and marine subjects. His work is of direct importance in the development of impressionism. Turner was born in London on April 23, 1775, and educated at the Royal Academy of Arts. At the age of 15 he exhibited his paintings at the academy and continued to show his work there until 1850. He was elected an associate of the academy in 1799 and a full member three years later. He traveled widely throughout his career, extensively touring England and Scotland and later France, Switzerland, and Italy. In 1807 he became professor of perspective at the Royal Academy and in 1845 was appointed deputy professor. Turner's early paintings were predominantly watercolors and his subjects mostly landscapes. By the late 1790s he had started exhibiting his first oil paintings, eventually transferring to the oils the same vibrance of color that had proved so successful in his watercolors. His mature work falls into three periods. During the first period (1800-20) Turner painted many picturesque mythological and historical scenes in which the coloring was subdued and details and contours were emphasized. He was influenced by the 17th-century French landscape painter Claude Lorrain, notably in the use of atmospheric effects, as in The Sun Rising Through Vapor (1807, National Gallery, London), and in the treatment of architectural forms, as in Dido Building Carthage (1815, National Gallery). Turner also produced numerous engravings for his unfinished collection Liber Studiorum (1806-19). The paintings of the artist's second period (1820-35) are characterized by more brilliant coloring and by diffusion of light. In two of Turner's best works, Bay of Baiae (1823, National Gallery) and Ulysses Deriding Polyphemus (1829, National Gallery), his use of light lends radiance to the colors and softens architectural and topographical forms and shadows. During this period he also executed a number of illustrations for books on topography and a collection of watercolors depicting Venetian scenes. Turner's artistic genius reached its culmination during his third period (1835-45). In such works as Snow Storm: Steam Boat Off a Harbor's Mouth (1842, Tate Gallery, London), Peace?Burial at Sea (1842, Tate Gallery), and Rain, Steam, and Speed (1844, National Gallery), he achieved a vibrant sense of force by presenting objects as indistinct masses within a glowing haze of color. Some of the forces represented are the strength of the sea and the rhythm of rain. Other famous works of this period include The Sun of Venice Going to Sea (1843, National Gallery), and The Approach to Venice (1844, National Gallery of Art, Washington, D.C.). Turner died in London on December 19, 1851.

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