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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 work was kept in Turner's gallery until 1837, when it was overpainted during a varnishing day at the British Institution. It subsequently gained notoriety, inspiring two derivative paintings and two engravings. Regulus was a controversial work, leading to it being stabbed in 1863 by a homeless man named Walter Stephenson.
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 ...
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Joseph Mallord William Turner RA (23 April 1775 – 19 December 1851), known in his time as William Turner, [a] was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colouring, imaginative landscapes and turbulent, often violent marine paintings.
A final photo has emerged of North Carolina grandparents on the roof of their home, surrounded by floodwaters, minutes before they drowned due to Hurricane Helene. Jessica Drye Turner’s family ...
Philadelphia Museum of Art, 36.2 in (92 cm) x 48.5 in (123.1 cm) Cleveland Museum of Art, 92 cm (36.2 in) x 123 cm (48.4 in). The Burning of the Houses of Lords and Commons, 16th October, 1834 is the title of two oil on canvas paintings by J. M. W. Turner, depicting different views of the fire that broke out at the Houses of Parliament on the evening of 16 October 1834.
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]