Life of J. M. W. Turner

AvWalter Thornbury

Häftad, Engelska, 2026

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Beskrivning

Joseph Mallord William Turner (1775–1851) is without contest England’s greatest painter – as his contemporaries were quick to admit, even when they could not understand his increasingly abstract art. Yet, despite achieving fame young, the man himself was so intensely private as to be almost unknown. Both brusque and kindly, tight-fisted and generous, taciturn and witty company, he remained a fascinating enigma and source of many legends. Soon after Turner’s death the journalist, critic and novelist Walter Thornbury began collecting anecdotes from friends and colleagues. The resulting biography provides most of what we know about Turner. It is unfailingly energetic and entertaining – but also ill-organised and prolix. In this edition, the scholar Ian Warrell has arranged Thornbury’s most illuminating passages into a compact, coherent narrative of the painter’s life.Unfailingly vivid and thought-provoking, and with nearly 100 pages of colour illustrations, this is the first stop on any exploration of Turner’s life and career.

Produktinformation

Utgivningsdatum:2026-01-28
Mått:114 x 145 x 16 mm
Vikt:280 g
Format:Häftad
Språk:Engelska
Serie:Lives of the Artists
Antal sidor:272
Förlag:Pallas Athene Publishers
ISBN:9781843682868

Utforska kategorier

Konsthistoria inom Kultur

Mer om författaren

Walter Thornbury (1828–1876), journalist, historian, novelist, critic, poet and travel writer, is best remembered for his biography of Turner, and Old and New London. Hugely prolific and controversial, he died of over-work at the age of only 47. Ian Warrell is an independent curator specialising in British art of the 19th century. He has written extensively on Turner and has curated exhibitions worldwide on many aspects of his art. His latest publication with Pallas Athene is Impressions in Watercolour: Turner and his Contemporaries.

Innehållsförteckning

Introduction by IAN WARRELLSome further reading, p. 38Selections from The Life and Correspondence of J. M. W. Turner, WALTER THORNBURYThe Curtain Rises, p. 41Maiden Lane, Covent Garden (London vs Venice), p. 45Early Ambitions, p. 47Brentford: The Country Eden, p. 48Margate, p. 49Architects and Blue Skies, p. 49The Royal Academy, p. 51First Tour to Bristol, 1791, p. 52First Painting in Oils, p. 53Turner and Girtin at Dr Thomas Monro’s ‘academy’, p. 55Thomas Girtin (1775–1802), p. 56Embarking on Travels in England, p. 59Turner Portraits, 1800, p. 62Summary of Turner’s Art Life, p. 64Vandervelde’s Rival, 1801, p. 65The First Foreign Tour, p. 69The Shipwreck, p. 72Turner’s Liber Studiorum, p. 73Claude and the Liber, p. 77John Dillon on the Liber, p. 82Appreciations of Turner’s Early Paintings, p. 83Teaching Perspective, p. 88Turner and Poetry, p. 90Walter Fawkes (1769–1825), p. 91Devon and Plein Air Painting (1811–14), p. 100Pictures of Nothing: Turner and the Critics, p. 105Sandycombe Lodge, p. 108The Yorkshire Frost, p. 112Carthage and Claude, p. 114The Old Masters, p. 120Cuyp and Turner, p. 121Work for the Engravers, p. 125Italy 1819, p. 129Plagiarism, p. 132Bay of Baiæ, p. 133Working to Order—Sights Unseen, p. 136Varnishing Days (1): The Black Cloud, p. 137Fishing, p. 141Petworth, Sussex, p. 144Floating Carrots, p. 146Chantrey’s Trick, p. 146Francis Chantrey, p. 148Rome 1828, p. 149The Polyphemus, p. 153Death of William Turner Senior, p. 159The Benevolent Hoarder [row of 1829], p. 160Engraving on Steel, p. 162Turner in Scott-land, p. 168Varnishing Days (2): Constable vs Turner, p. 173Constable, p. 179Varnishing Days (3): George Jones, p. 180Chantrey and the Fire Office, p. 186New Patrons, p. 186The Money Spider, p. 187Varnishing Days (4): A Venetian Painting, p. 189Varnishing Days (5): The Burning of the Houses of Parliament, p. 192Indifferent, p. 197Travelling with H. A. J. Munro, 1836, p. 199The Old Temeraire, p. 204Later Travels, p. 210The Slave Ship, p. 213Mr Ruskin and Modern Painters, p. 214Soapsuds and White-wash, p. 215A Critic Chastened, p. 219Wider Criticisms, p. 220The Gallery on Queen Anne Street in the 1840s, p. 223James Astbury Hammersley’s Visit to the Gallery in 1844, p. 224Frustrated Hopes, p. 227Turner’s Prices, p. 228Last Works, p. 233Drawn into Society, p. 235John Jabez Edwin Mayall and Photography, p. 237Twilight at Chelsea, p. 241The Last Sunshine, p. 248The Empty Gallery, p. 249Turner’s Painting Room, p. 251The Grand Funeral, p. 255Old Mortality: An Assessment, p. 259List of illustrations, p. 268Note on the text, p. 272