Turner's picturesque views in England and Wales, 1825-1838

Turner, J.M.W.

Icon Editions

A scholarly edition of the correspondence of J.M.W. Turner. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

Collected Correspondence of J.M.W. Turner: With an Early Diary and a Memoir by George Jones

Arts & Photography

History & Criticism

Oxford University Press

One hundred and seventy-six early Turners, most in color and reproduced for the first time, and 22 other reproductions.

Turner's Early Sketchbooks, 1789-1802

British Museum

Wilkinson, Gerald

Barrie and Jenkins

Turner's Last Sketchbook (Yale Center for British Art)

YC British Art

As a blind person might see the world if the gift of sight were suddenly returnedâ€”this is how we might describe the effect of William Turner's paintings on the observer. John Ruskin, Turner's uncompromising 19th-century defender, alluded to this idea when he spoke of an "innocence of the eye" which perceived the world's colours and forms before it could recognize their significance.   But to develop such a style, William Turner (1775-1851) first had to overcome the legacy of late rococo academic teachings. He was simultaneously a romantic and a realistâ€”and yet he transcended both styles. His landscapes, far in advance of their time, have been called forerunners of Impressionism, yet they also possess traits that influenced Expressionism, and many of his late compositions are undeniably surrealistic.   Turner's art cannot be bound by such classifications, and remains an oddity to art history even today. His work arises from a unique relation to the nature that it depicts: through his brilliant sketches, he found a rigorously open kind of painting in which nature sets free the use of colour. And through the workings of the natural elementsâ€”especially atmospheric lightâ€”Turner confronted nature at the point where nature itself is an image. This book opens up Turner's paintings for the eye, demonstrating that he was not simply illustrating nature, but that his pictures speak directly to the eye as nature does itselfâ€”through a world of light and colour.

Turner

National Gallery of Australia

Lord, Michael

Thames&Hudson

Turner in the British Museum: Drawings and watercolours : catalogue of an exhibition at the Department of Prints and Drawings of the British Museum, 1975

Published for the Trustees of the British Museum by British Museum Publications

<p>Like New Book and Cover. Slight wear on edges of cover. Pages Crisp and Clean. Ships from Wyoming.Contact me if you have any questions.</p>

Turner;

Phaidon

Turner Paintings, Watercolours, Prints & Drawings

Turner: Paintings, watercolours, prints, and drawings

Reference

Catalogs & Directories

<p>This book reproduces the 20 exquisite watercolours of birds from the Farnley Hall 'Ornithological Collection' and gives an intriguing glimpse into the life of J. M. W. Turner, England's great landscape artist.</p>

Turner's birds: Bird studies from Farnley Hall

Hill, DAVID

Phaidon Press Limited

Dust jacket notes: "The most romantic of cities, Venice has inspired generations of artists and writers. Its grand monuments, its countless narrow byways, its canals, and above all the luminous colors and spectacular light effects created by its unmatched natural setting, have always intrigued visitors. Venice held a special fascination for J.M.W. Turner, the renowned British Romantic artist, who visited the city three times between 1819 and 1840 and left a legacy of outstanding paintings, watercolors and sketches that capture the mystery and allure of this unique city. Indeed, Venice's nostalgic, dreamlike qualities were never more completely expressed than in Turner's evocative images. In the introduction and detailed commentaries on the plates, Lindsay Stainton considers the importance of Venice in Turner's work. His vision of the city was shaped by his knowledge of the poetry of Shelley and Byron, an awareness of its history, and a sense of pessimism (evident most notably in his paintings of the 1840s) about a great city which had fallen into ruin through its indulgence in superstition and luxury. Turner's Venetian works were to inspire his great admirer Ruskin to devote much of his life to the study of the city's art and architecture. The 112 color plates presented here - many in color reproduction for the first time - convey the full range and excitement of Turner's Venetian works, concentrating in particular on a sequence of watercolors which are among the most astonishing ever painted. A selection of paintings by other artists who depicted the city is included to show Turner's achievement in a wider context. 112 color and 20 black-and-white illustrations."

Turner's Venice

Stainton, Lindsay

Individual Artists

George Braziller

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