J. M. W. Turner

J. M. W. Turner

Joseph Mallord William Turner Self Portrait 1799.jpg
Self-portrait, oil on canvas, c. 1799
Born
Joseph Mallord William Turner

(1775-04-23)23 April 1775
Died19 December 1851(1851-12-19) (aged 76)
NationalityEnglish
EducationRoyal Academy of Arts
Known forPaintings
MovementRomanticism

Joseph Mallord William Turner RA (23 April 1775 – 19 December 1851), known as J. M. W. Turner and contemporarily as William Turner,[a] was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colourisations, imaginative landscapes and turbulent, often violent marine paintings.

Turner was born in Maiden Lane, Covent Garden, London, to a modest lower middle-class family. He lived in London all his life, retaining his Cockney accent and assiduously avoiding the trappings of success and fame.

A child prodigy, Turner studied at the Royal Academy of Arts from 1789, enrolling when he was 14, and exhibited his first work there at 21. During this period, he also served as an architectural draftsman. He earned a steady income from commissions and sales, which due to his troubled, contrary nature, were often begrudgingly accepted. He opened his own gallery in 1804 and became professor of perspective at the academy in 1807, where he lectured until 1828, although he was viewed as profoundly inarticulate. He traveled to Europe from 1802, typically returning with voluminous sketchbooks.

Intensely private, eccentric and reclusive, Turner was a controversial figure throughout his career. He did not marry, but fathered two daughters, Eveline (1801–1874) and Georgiana (1811–1843), by his housekeeper Sarah Danby. He became more pessimistic and morose as he got older, especially after the death of his father, after which his outlook deteriorated, and his gallery fell into disrepair and neglect, and his art intensified. He lived in squalor and poor health from 1845, and died in London in 1851 aged seventy-six. Turner is buried in Saint Paul's Cathedral, London.

He left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 works on paper.[1] He had been championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivalling history painting.[2]

Biography

Early life

The house in Maiden Lane where Turner was born, c.1850s

Joseph Mallord William Turner was born on 23 April 1775 and baptised on 14 May.[c] He was born in Maiden Lane, Covent Garden, in London, England.[3] His father, William Turner (1745–21 September 1829), was a barber and wig maker.[4] His mother, Mary Marshall, came from a family of butchers.[5] A younger sister, Mary Ann, was born in September 1778 but died in August 1783.[6]

Turner's mother showed signs of mental disturbance from 1785 and was admitted to St Luke's Hospital for Lunatics in Old Street in 1799 and was moved in 1800 to Bethlem Hospital[7] where she died in 1804. Turner was sent to his maternal uncle, Joseph Mallord William Marshall, in Brentford, then a small town on the banks of the River Thames west of London. The earliest known artistic exercise by Turner is from this period—a series of simple colourings of engraved plates from Henry Boswell's Picturesque View of the Antiquities of England and Wales.[8]

Around 1786, Turner was sent to Margate on the north-east Kent coast. There he produced a series of drawings of the town and surrounding area that foreshadowed his later work.[9] By this time, Turner's drawings were being exhibited in his father's shop window and sold for a few shillings.[5] His father boasted to the artist Thomas Stothard that: "My son, sir, is going to be a painter".[10] In 1789, Turner again stayed with his uncle who had retired to Sunningwell in Berkshire (now part of Oxfordshire). A whole sketchbook of work from this time in Berkshire survives as well as a watercolour of Oxford. The use of pencil sketches on location, as the foundation for later finished paintings, formed the basis of Turner's essential working style for his whole career.[8]

Many early sketches by Turner were architectural studies or exercises in perspective, and it is known that, as a young man, he worked for several architects including Thomas Hardwick, James Wyatt and Joseph Bonomi the Elder.[11] By the end of 1789, he had also begun to study under the topographical draughtsman Thomas Malton, specialised in London views. Turner learned from him the basic tricks of the trade, copying and colouring outline prints of British castles and abbeys. He would later call Malton "My real master".[12] Topography was a thriving industry by which a young artist could pay for his studies.

Royal Academy

Turner entered the Royal Academy of Art in 1789, aged 14,[13] and was accepted into the academy a year later by Sir Joshua Reynolds. Turner showed an early interest in architecture, but was advised by Thomas Hardwick to focus on painting. His first watercolour, A View of the Archbishop's Palace, Lambeth was accepted for the Royal Academy summer exhibition of 1790 when Turner was 15.

As an academy probationer, Turner was taught drawing from plaster casts of antique sculptures. From July 1790 to October 1793, his name appears in the registry of the academy over a hundred times.[14] In June 1792, he was admitted to the life class to learn to draw the human body from nude models.[15] Turner exhibited watercolours each year at the academy while painting in the winter and travelling in the summer widely throughout Britain, particularly to Wales, where he produced a wide range of sketches for working up into studies and watercolours. These particularly focused on architectural work, which used his skills as a draughtsman.[14] In 1793, he showed the watercolour titled The Rising Squall – Hot Wells from St Vincent's Rock Bristol (now lost), which foreshadowed his later climatic effects.[16] Cunningham in his obituary of Turner wrote that it was: "recognised by the wiser few as a noble attempt at lifting landscape art out of the tame insipidities...[and] evinced for the first time that mastery of effect for which he is now justly celebrated".[17]

Fishermen at Sea, exhibited in 1796 was the first oil painting exhibited by Turner at the Royal Academy.

In 1796, Turner exhibited Fishermen at Sea, his first oil painting for the academy, of a nocturnal moonlit scene of the Needles off the Isle of Wight, an image of boats in peril.[18] Wilton said that the image: "Is a summary of all that had been said about the sea by the artists of the 18th century."[19] and shows strong influence by artists such as Claude Joseph Vernet, Philip James de Loutherbourg, Peter Monamy and Francis Swaine, who was admired for his moonlight marine paintings. This particular painting cannot be said to show any influence of Willem van de Velde the Younger, as not a single nocturnal scene is known by that painter. Some later work, however, was created to rival or complement the manner of the Dutch artist. The image was praised by contemporary critics and founded Turner's reputation, as both an oil painter and a painter of maritime scenes.[20]

Early career

Charles Turner, c. 1840, Portrait of J. M. W. Turner, making his sketch for the celebrated picture of 'Mercury & Argus' (exhibited in 1836)

Turner traveled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year. He made many visits to Venice. Important support for his work came from Walter Ramsden Fawkes of Farnley Hall, near Otley in Yorkshire, who became a close friend of the artist. Turner first visited Otley in 1797, aged 22, when commissioned to paint watercolours of the area. He was so attracted to Otley and the surrounding area that he returned to it throughout his career. The stormy backdrop of Hannibal Crossing The Alps is reputed to have been inspired by a storm over the Chevin in Otley while he was staying at Farnley Hall.

Turner was a frequent guest of George O'Brien Wyndham, 3rd Earl of Egremont, at Petworth House in West Sussex and painted scenes that Egremont funded taken from the grounds of the house and of the Sussex countryside, including a view of the Chichester Canal. Petworth House still displays a number of paintings.

Personal life

As Turner grew older, he became more eccentric. He had few close friends except for his father, who lived with him for 30 years and worked as his studio assistant. His father's death in 1829 had a profound effect on him, and thereafter he was subject to bouts of depression. He never married but had a relationship with an older widow, Sarah Danby (1760—1861). He is believed to have been the father of her two daughters Evalina Dupois (1801—1874) and Georgiana Thompson (1811—1843).[21]

Turner formed a relationship with Sophia Caroline Booth (1798—1875) after her second husband died, and he lived for about 18 years as "Mr Booth" in her house in Chelsea.[22]

Turner was a habitual user of snuff; in 1838, Louis Philippe I, King of the French presented a gold snuff box to him.[23] Of two other snuffboxes, an agate and silver example bears Turner's name,[24] and another, made of wood, was collected along with his spectacles, magnifying glass and card case by an associate housekeeper.[25]

Death

Turner died of cholera at the home of Sophia Caroline Booth, in Cheyne Walk in Chelsea, on 19 December 1851. He is buried in St Paul's Cathedral, where he lies near to Sir Joshua Reynolds.[26] Apparently his last words were "The Sun is God",[27] though this may be apocryphal.[28]

Turner's friend, the architect Philip Hardwick (1792–1870), son of his tutor, Thomas Hardwick, was in charge of making the funeral arrangements and wrote to those who knew Turner to tell them at the time of his death that, "I must inform you, we have lost him."[citation needed] Other executors were his cousin and chief mourner at the funeral, Henry Harpur IV (benefactor of Westminster – now Chelsea & Westminster – Hospital), Revd. Henry Scott Trimmer, George Jones RA and Charles Turner ARA.[29]

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