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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 ...
The scene, suffused with the golden glow of imagination in which the divine mind of Turner steeped and transfigured even the fairest natural landscape, is a dream-like vision of the little woodland lake of Nemi, "Diana's Mirror," as it was called by the ancients. No one who has seen that calm water, lapped in a green hollow of the Alban hills ...
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".This photographic reproduction is therefore also considered to be in the public domain in the United States.
The house in Maiden Lane where Turner was born, c.1850s. 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.
Turner's paired piece titled Shade and Darkness – The Evening of the Deluge was also exhibited in 1843. In this piece as well as The Morning After the Deluge, Turner makes no attempt to mirror the scene of the flood in its naturality. [3] Fallacies of Hope is a poem that Turner supposedly wrote to parallel the two paintings. [5]
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