Toutes peintures à l'huile d'Joseph Mallord William Turner

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41351

THe Grand Canal

mk161 Oil on canvas

90970

The Grand Canal - Scene - A Street In Venice

1837(1837) Medium oil on canvas Dimensions 148 x 111 cm (58.3 x 43.7 in) cyf

55017

The grave

mk239 1909 Oil on canvas 71.5x98cm

54895

The Gril Read to the boy

mk238 1832 Watercolour 13.8x18.9cm

31833

The harbor of dieppe

mk76 Dated 1826 Oil on canvas 68 3/8x88 3/4in

52755

The Lake

mk223 Oil on canvas

54827

The morning

mk238 1798 Oil on canvas 123x89.7cm

24479

The passage of Mount St.Gothard,taken from the centre of the Teufels Broch Switzerland (mk31)

1804 Watercolour 98.5x68.5cm

3222

The Passage of the St.Gothard

1804 Abbot Hall Art Gallery, Kendal, Cumbria

55086

The picture with White line

mk239 1913 Watercolour

89159

The Ponte Delle Torri, Spoleto

c. 1840(1840) Medium oil on canvas Dimensions Height: 914 cm (359.8 in). Width: 1,219 cm (479.9 in). cjr

24487

The Righting (Temeraire),tugged to her last berth to be broken up (mk31)

1838 Oil on canvas 91x122cm

21774

The Saint Gotthard Pass (mk10)

Around 1803-1804 Oil on canvas 80.6 x 64.2 cm Birmingham,City Museum and Art Gallery

55136

The shape of black

mk239 1923 Oil on canvas 110x97cm

24462

The Shipwreck (mk31)

1805 Oil on canvas 170.5x241.5cm

61216

The shipwreck of the Minotaur,

The shipwreck of the Minotaur, oil on canvas.

3233

The Slave Ship

1840 National Gallery, London

42758

The slave ship

MK169 1840 Oileverf on cloth 90.8x122.6cm Museum or Finn Physician. Boston

21769

The Slave Ship (mk10)

1840 Oil on canvas 91.5 x 122 cm Boston,Museum of Fine Arts Henry Lillie Pierce Fund

24493

The Sun of Venice going to sea (mk31)

1843 Oil on canvas 61.5x92cm

54856

The supper after harvest

mk238 1809 Oil on canvas 90.2x121cm

89140

The Thames above Waterloo Bridge

c. 1830(1830) Medium oil on canvas Dimensions Height: 905 cm (356.3 in). Width: 121 cm (47.6 in). cjr

89139

The Thames near Walton Bridges

1805(1805) Medium oil on mahogany Dimensions Height: 371 cm (146.1 in). Width: 737 cm (290.2 in). cjr

54918

The town

mk238 1828 Watercolour 14x18.6cm

54834

The tree at the edge of lake

mk238 1800 Oil on canvas 39.1x60.6cm

55135

The triangle with black

mk239 1923 Watercolour 30.8x40.5cm

55027

The view with stock

mk239 1909 Oil on canvas 72.3x97.5cm

55075

The Watercolour with roses

mk239 1911-1912 Oil on canvas 48.3x63.5cm

54972

Theatre

mk238 1833-1840 Watercolour 22.6x29.4cm

40685

THed Burning of the Houses of Lords and Commons,16 October,1834

mk156 c.1835 Oil on canvas 91x122cm

55186

Three arrowhead

mk239 1931

55069

Three knight

mk239 1910-1911 Watercolour 25x32cm

55065

Three Wagon

mk239 1911 Oil on canvas 70x100cm

54880

Tiwoli

mk238 1819 watercolour 25.6x40.4cm

55026

Train

mk239 1909 Oil on canvas 36x49cm

55013

Trees and houses

mk239 1908 Oil on board 71.5x97.5cm

90187

Trees beside the River, with Bridge in the Middle Distance

c. 1806(1806) Medium oil on canvas Dimensions Height: 879 cm (346.1 in). Width: 1,206 cm (474.8 in). cjr

54928

Tunalu

mk238 1832 Watercolour 28.2x24cm

55138

Turn of the left

mk239 1923 Watercolour 42.5x47.5cm

61221

Turner 1813 watercolour, Ivy Bridge

Turner's 1813 watercolour, Ivy Bridge

55131

Two black

mk239 1923 Watercolour 47.5x32.7cm

54825

Two Fisher

mk238 1796-1797 Watercolour 19.8x27.5cm

55195

Two part

mk239 1940 Oil on canvas 89x116cm

55156

Two sawtooth

mk239 1925 31.6x48.6cm

55164

Two sawtooth line

mk239 1926 Watercolour 31.6x48.6cm

3218

Ulysses Deriding Polyphemus

1829 National Gallery, London

92110

Ulysses deriding Polyphemus

1829(1829) Medium oil on canvas Dimensions 132.7 X 203 cm (52.2 X 79.9 in) cyf

55070

Under the sunlight

mk239 1911 30.6x40.3cm

24497

Undine giving the ring to Masaniello,fisherman of Naples (mk31)

1846 Oil on canva 79x79cm

43983

Undine Giving the Ring to Massaniello, Fisherman of Naples

1846 Oil on canvas, 79 x 79 cm

89692

Union of the Thames and Isis

oil on canvas Dimensions Height: 908 cm (357.5 in). Width: 1,213 cm (477.6 in). cjr

55150

Unstable

mk239 1924 29.7x25.7cm

26145

UpnorCastle,Kent (mk47)

1831-32 Watercolour and bodycolour 290x437mm Whitworth Art Gallery. University of Manchester

43311

Uysses Deriding Polyphemus

mk170 1829 Oil on canvas 132.7x203.2cm

90198

Venedig

2nd quarter of 19th century Medium oil on canvas Dimensions 91 x 122 cm cjr

3239

Venetian Festival

1845 Tate Gallery, London

24485

Venice,from the Lagoon (mk31)

1840 Watercolour and pen 23x30.5cm

54884

Venus

mk238 1819 Watercolour 22.4x28.7cm

54977

Venus

mk238 1840 Watercolour 24.5x30.9cm

54932

View

mk238 1832 Watercolour 29x47cm

54945

View

mk238 1835-1840 Oil on canvas 94x123cm

55092

View and edge

mk239 1913 Watercolour 27.6x38.1cm

21767

View of an Alpine Valley probably the Val d'Aosta (mk10)

Watercolour Private collection

54830

Village

mk238 1799 watercolour 19.5x27.2cm

54930

Village

mk238 1832 Watercolour

54942

Village

mk238 1836 24.2x29.8cm

55015

Village

mk239 Oil on canvas

54871

Volcano erupt

mk238 1817 Watercolour 28.6x39.7cm

54872

Volcano erupt

mk238 1815 Oil on canvas 79.4x104.8cm

89744

Walton Reach

c. 1807(1807) Medium Oil on canvas Dimensions 37 x 73,5 cm cjr

43980

War, the Exile and the Rock Limpet

1842 Oil on canvas, 79,5 x 79,5 cm

54860

Warship

mk238 1809 Oil on canvas 91.4x124.5cm

54935

Warship

mk238 1833 Oil on canvas

54967

Warship

mk238 1850 Oil on canvas 89.9x120.3cm

55061

Watercolour

mk239 1910-1912 21.6x33cm

55073

Watercolour

mk239 1911-1912 40.2x65.2cm

55074

Watercolour

mk239 1911-1912 20.7x42.8cm

55102

Watercolour

mk239 1916 Watercolour 23x34.5cm

54818

Waterworks

mk238 1794-1795 watercolor 29.8x41.9cm

54970

Wedding

mk238 1835 oil on canvas 91.4x121.9cm

55153

Weight during the light

mk239 1924 Watercolour

24496

Whalers (mk31)

1845 Oil on canvas 91xx22cm

24471

Whiby,Yorkshire (mk31)

1825-1830 Watercolour 15.9x24.8cm

55200

White line

mk239 1936 49.9x38.7cm

54886

Wind

mk238 1827 Oil on canvas 46.4x72.4cm

54888

Wind

mk238 1827 Oil on canvas

24473

Windsor Castle,Berkshire (mk31)

1827-1829 Watercolour 29x43cm

55066

Winter-s landscape

mk239 1911 95.3x102.4cm

91514

Wohnsitz des Earl of Darlington

1818(1818) Medium oil on canvas Dimensions 119 x 180,6 cm cyf

54900

Woman in the black

mk238 1832 Watercolour 19.5x13.8cm

55016

Woman in the street

mk239 1908 Oil on canvas 70x95cm

54521

Yacht Approaching the Coast

mk235 c.1838-1840 Oil on canvas

24488

Yacht approaching the coast (mk31)

Ca.1835-1840 Oil on canvas 102x142cm

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Joseph Mallord William Turner

English Romantic Painter, 1775-1851 Joseph Mallord William Turner (23 April 1775 ?C 19 December 1851) was an English Romantic landscape painter, watercolourist and printmaker, whose style is said to have laid the foundation for Impressionism. Although Turner was considered a controversial figure in his day, he is now regarded as the artist who elevated landscape painting to an eminence rivalling history painting. Turner's talent was recognised early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterised by a chromatic palette and broadly applied atmospheric washes of paint. According to David Piper's The Illustrated History of Art, his later pictures were called "fantastic puzzles." However, Turner was still recognised as an artistic genius: the influential English art critic John Ruskin described Turner as the artist who could most "stirringly and truthfully measure the moods of Nature." (Piper 321) Suitable vehicles for Turner's imagination were to be found in the subjects of shipwrecks, fires (such as the burning of Parliament in 1834, an event which Turner rushed to witness first-hand, and which he transcribed in a series of watercolour sketches), natural catastrophes, and natural phenomena such as sunlight, storm, rain, and fog. He was fascinated by the violent power of the sea, as seen in Dawn after the Wreck (1840) and The Slave Ship (1840). Turner placed human beings in many of his paintings to indicate his affection for humanity on the one hand (note the frequent scenes of people drinking and merry-making or working in the foreground), but its vulnerability and vulgarity amid the 'sublime' nature of the world on the other hand. 'Sublime' here means awe-inspiring, savage grandeur, a natural world unmastered by man, evidence of the power of God - a theme that artists and poets were exploring in this period. The significance of light was to Turner the emanation of God's spirit and this was why he refined the subject matter of his later paintings by leaving out solid objects and detail, concentrating on the play of light on water, the radiance of skies and fires. Although these late paintings appear to be 'impressionistic' and therefore a forerunner of the French school, Turner was striving for expression of spirituality in the world, rather than responding primarily to optical phenomena. Rain, Steam and Speed - The Great Western Railway painted (1844).His early works, such as Tintern Abbey (1795), stayed true to the traditions of English landscape. However, in Hannibal Crossing the Alps (1812), an emphasis on the destructive power of nature had already come into play. His distinctive style of painting, in which he used watercolour technique with oil paints, created lightness, fluency, and ephemeral atmospheric effects. (Piper 321) One popular story about Turner, though it likely has little basis in reality, states that he even had himself "tied to the mast of a ship in order to experience the drama" of the elements during a storm at sea. In his later years he used oils ever more transparently, and turned to an evocation of almost pure light by use of shimmering colour. A prime example of his mature style can be seen in Rain, Steam and Speed - The Great Western Railway, where the objects are barely recognizable. The intensity of hue and interest in evanescent light not only placed Turner's work in the vanguard of English painting, but later exerted an influence upon art in France, as well; the Impressionists, particularly Claude Monet, carefully studied his techniques.

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