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The Painting is attributed to Turner. It is highly likely to be a Turner work, and part of the Turner Bequest also. [3] Interior of a Romanesque Church: c.1795–1800 Tate Britain, London: 61 x 50.2 Fishermen at Sea: 1796 Tate Britain, London: 91.4 × 122.2 Diana and Callisto (after Wilson) 1796 Tate Britain, London: 56.5 x 91.4 Interior of a ...
Rather than the triumphal depictions commonplace in portrayals of the battle, it functions more as an elegy to Waterloo's unknown victims. In 1817 Turner visited the site of the battlefield and drew a number of sketches. [1] In the background is the ruined remains of the farmhouse at Hougoumont which had played a pivotal role in the fighting.
Turner's father William Turner (1745–1829) moved to London around 1770 from South Molton, Devon. [5] Joseph Mallord William Turner was born on 23 April 1775 and baptised on 14 May. [b] He was born in Maiden Lane, Covent Garden, in London. [6] His father was a barber and wig maker. [8] His mother, Mary Marshall, came from a family of butchers. [9]
The Dort, or Dort or Dordrecht: The Dort packet-boat from Rotterdam becalmed is an 1818 painting by J. M. W. Turner, based on drawings made by him in mid September 1817. [1] It shows a view of the harbour of Dordrecht. It is the finest example of the influence of Dutch marine painting on Turner's work. [2]
Turner frequently made small sketches and then worked them into finished paintings in the studio. The current scholarly view is that it cannot be determined whether Turner actually witnessed the towing of the Temeraire , although several older accounts say that he watched the event from a variety of places on the river.
Turner painted several variations of the Rigi in 1842, following a visit to Switzerland the previous summer. Completed examples include The Red Rigi, blushed by the evening sun, originally sold to H.A.J. Munro of Novar and now held by the National Gallery of Victoria in Melbourne, Australia, and The Dark Rigi, an early morning view, in a private collection.
The Slave Ship, originally titled Slavers Throwing overboard the Dead and Dying—Typhon coming on, [1] is a painting by the British artist J. M. W. Turner, first exhibited at The Royal Academy of Arts in 1840.
The irregular composition, without geometric axes or perspective, breaks traditional rules of composition. It is similar to Turner's 1800-2 watercolour, Edward I's Army in Wales, painted to illustrate a passage from the poem The Bard by Thomas Gray, in which an army marches diagonally across the painting through a mountain pass, and is assailed by an archer to the left of the painting.
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