Jmw Turner Quotes

My business is to paint what I see, not what I know is there.

I hate married men ; they never make any sacrifice to the Arts, but are always thinking of their duty to their wives and families, or some rubbish of that sort .

I’ve had so many influences and sources of inspiration as an illustrator that it is impossible to name just one. I loved Aubrey Beardsley when I was a student, and then Edmund Dulac and other Golden Age illustrators made a big impact, as well as Victorian painters like Richard Dadd and Edward Burne-Jones. My long-term heroes though are Albretch Durer, Brueghel, Hieronymous Bosch, Jan Van Eyck, Leonardo, Botticelli, Rembrandt, Turner and Degas. What most of them have in common is brilliant draughtsmanship and a strong linear or graphic quality. Most are also printmakers. The one I keep going back to and who fascinates me the most is JMW Turner, the greatest watercolourist.

My paintings bring me nothing but pain. The realisation is so immeasurably below the conception

the political and symbolic significance of retaining a captured ship’s name were powerful, as was the sailors’ belief that to change the name of a ship was unlucky. British sailors were unable or unwilling to pronounce Téméraire properly, and so she became to them Timmera.

J.M.W. Turner's Poem dedicated to Ivan Aivazovsky (1842) Like a curtain slowly drawn It stops suddenly half open, Or, like grief itself, filled with gentle hope, It becomes lighter in the shore-less dark, Thus the moon barely wanes Winding her way above the storm-tossed sea. Stand upon this hill and behold endlessly This scene of a formidable sea, And it will seem to thee a waking dream. That secret mind flowing in thee Which even the day cannot scatter, The serenity of thinking and the beating of the heart Will enchain thee in this vision; This golden-silver moon Standing lonely over the sea, All curtain the grief of even the hopeless. And it appears that through the tempest Moves a light caressing wind, While the sea swells up with a roar, Sometimes, like a battlefield it looks to me The tempestuous sea, Where the moon itself is a brilliant golden crown Of a great king. But even that moon is always beneath thee Oh Master most high, Oh forgive thou me If even this master was frightened for a moment Oh, noble moment, by art betrayed… And how may one not delight in thee, Oh thou young boy, but forgive thou me, If I shall bend my white head Before thy art divine Thy bliss-wrought genius...

J. M. W. Turner is regarded by many as Britain’s greatest artist, whose works have become iconic symbols of the Romantic art movement. He became known as ‘the painter of light’, due to his increasing interest in brilliant colours and the contrast between light and dark in his many landscapes and seascapes. Turner was born on 23 April 1775 in London. His father, William Turner (1745-1829), was a barber and wig maker and his mother, Mary Marshall, came from a family of butchers. In 1785, his mother suffered from severe mental illness and was admitted first to St Luke's Hospital for Lunatics in Old Street in 1799 and then Bethlem Hospital in 1800, where she died four years later.

During an interlude of peace in 1802, a consortium of patrons clubbed together to send Turner to Paris, in order to study in the Louvre. To begin with, he embarked on a tour of the Alps, whose sublime beauty and constant climatic change taught the young artist the awesome scale and mutability of nature. The Alpine tour resulted in some spectacular watercolours and oil paintings. Although he never witnessed an avalanche himself, an account of a devastating one in the Grisons prompted Turner to create the following painting in 1810. The tragic event occurred at Selva, killing twenty-five people. The canvas depicts huge rocks, driven before the weight of snow, crashing down upon a small chalet. Turner opted to portray not a single human figure, concentrating on the unparalleled might of nature instead.

SELF PORTRAIT, 1799 In this early self portrait we can note the subtle blend of light and dark, illuminating the face of the young twenty-four year old artist. Dating from around 1799, the painting was most likely intended to mark Turner’s election as a full member of the Royal Academy, a momentous occasion for any aspiring artist. This meant that he could now exhibit his works on the walls of the Academy without fear of rejection by any members of the committee. Despite his relative youth, Turner had already made a name for himself as an original, accomplished painter with the technical abilities of someone many years more experienced. He had been described in London newspapers as an artist that ‘seems thoroughly to understand the mode of adjusting and applying his various materials’ and ‘their effect in oil or on paper is equally sublime’. The portrait, which is now housed in Tate Britain, depicts a confident young man, who stares assertively at the viewer, hinting at his ambitions and skilled abilities as an artist.

[JMW] Turner could make very little of the human figure once it got too close.

the Harveys’ most famous son. An experimental physician famous for his discovery of the circulation of the blood, he had been the personal physician to Charles I and had been present with him at the Battle of Edgehill in 1642. Research in the Harvey family papers has also revealed that he was responsible for the only known scientific examination of a witch’s familiar. Personally ordered by Charles I to examine a lady suspected of witchcraft who lived on the outskirts of Newmarket, the dubious Harvey visited her in the guise of a wizard. He succeeded in capturing and dissecting her pet toad. The animal, Harvey concluded dryly, was a toad.

Fleet cohesion was achieved more through the complex social relationship between a commander and his officers than by orders alone. Fleet captains ignored their fleet commander time and again and would continue to do so up to, during and after the Battle of Trafalgar.

That day, then, jolly buck, we’ll set the taps a-flowin’ And drink rest and good luck to Admiral Boscawen.19

The reason for her nickname is lost. The problem is that we don’t know what eighteenth-century sailors understood by ‘saucy’; if it’s similar to how we understand it, it may have had very important subtle variations.