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Turner's Sketches and Drawings

Chapter 2: LIST OF PLATES
By A. J. Finberg
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ArtHistory - Modern (1750+)

About This Book

The author studies J. M. W. Turner’s extensive sketchbooks and drawings as the foundational material for his finished works, tracing artistic development through eight phases—apprenticeship, topographical draughtsmanship, explorations of the sublime, marine subjects, and a phase of 'simple nature' among others. Using thousands of sheets from the bequest, the analysis links hurried memoranda and studies to completed paintings, examines technique, influence, tours, and compositional experiments, and argues for a method that treats preliminary drawings as embryonic forms illuminating the painter’s methods of light, shade, and expressive transformation rather than as independent artworks.

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Title: Turner's Sketches and Drawings

Author: A. J. Finberg

Release date: January 16, 2021 [eBook #64312]
Most recently updated: October 18, 2024

Language: English

Credits: Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images available at The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK TURNER'S SKETCHES AND DRAWINGS ***
Contents
Index: A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, Y, Z
List of Plates

 

 

TURNER’S SKETCHES AND DRAWINGS

THE PASS OF FAÏDO, ST. GOTHARD

WATER COLOUR, 1844.

 

TURNER’S SKETCHES
AND DRAWINGS

By
A.   J.   F I N B E R G
WITH 100 ILLUSTRATIONS

SECOND EDITION
METHUEN & CO. LTD
36 ESSEX STREET W.C.
LONDON

First Published...July 21st 1910
Second Edition...1911

PRINTED IN GREAT BRITAIN.

CONTENTS

 PAGE
LIST OF PLATES,ix
INTRODUCTORY,1
The nature of our subject-matter,1
The raw material of art,2
The character of our subject-matter, as embryonic forms of artistic expression, prescribes our method of study,2
Our difficulties of description and analysis,3
The separation of Art-criticism from Aesthetic,3
Eight aspects of Turner’s genius,4
CHAPTER
I. SEVEN YEARS’ APPRENTICESHIP—1787-1793,6
Turner’s first drawings,6
‘St. Vincent’s Tower,’6
Copies and imitations,8
His debt to art,10
Work with Mr. Hardwick,10
Oxford sketches,11
‘Radley Hall,’12
Working from the Antique,14
The Bristol sketch-book,14
End of the apprenticeship,16
II. THE TOPOGRAPHICAL DRAUGHTSMAN—1793-1796,17
Welsh tour of 1793,17
‘St. Anselm’s Chapel,’18
Turner’s topographical rivals,18
Midland tour of 1794,20
Limitations of topographical and antiquarian art,22
‘Interior of a Cottage,’23
Light and Shade as a means of expression,24
The sketch-books of 1795 and their contents,25
‘High Force of Tees’ or ‘Fall of Melincourt’?27
III. THE SUBLIME—1797-1802,29
Change from pure outline to light and shade,29
‘Ewenny Priory,’30
Contrast between ‘Ewenny’ (1797) and ‘Llandaff Cathedral’ (1796),30
Transition from Objectivity to Subjectivity,31
Growth of taste for the Sublime,31
There are no sublime objects, but only objects of sublime feeling,32
Therefore no guidance but from Art,32
The Wilson tradition,33
The two currents in Turner’s work at this period—
(a) Study of Nature;
(b) Study of the Wilson tradition,33
In the 1797 sketches these two currents are kept distinct,34
The North of England tour (1797) and its record,34
‘Studies for Pictures: Copies of Wilson,’36
The two currents begin to coalesce,37
The origin of ‘Jason,’38
Scotch tour (1801),38
Swiss tour (1802),39
IV. THE SEA PAINTER—1802-1809,41
Contrast between Marine painting and the Sublime,41
Turner’s first sea-pieces,42
The ‘Bridgewater Sea-piece,’42
‘Meeting of the Thames and Medway,’46
‘Our landing at Calais—nearly swampt,’48
‘Fishermen upon a Lee Shore,’48
The Dunbar and Guisborough Shore sketch-book,48
‘The Shipwreck,’49
The mouth of the Thames,51
‘Sheerness’ and the ‘Death of Nelson,’53
V. ‘SIMPLE NATURE’—1808-1813,55
The works of this period an important yet generally neglected aspect of Turner’s art,55
Turner’s classification of ‘Pastoral’ as distinguished from ‘Elegant Pastoral,’56
The Arcadian idyll of the mid-eighteenth century,57
The first ‘Pastoral’ subjects in ‘Liber,’57
The ‘Windmill and Lock,’57
Events connected with the development of Turner’s deeper and more solemn conception of the poetry of rural life,58
An attempt to define the mood of pictures like the ‘Frosty Morning,’64
The work of art is nothing less than its full significance,67
Distinction between mood and character,68
VI. THE ‘LIBER STUDIORUM,’72
Object of this chapter,72
The first ‘Liber’ drawings were made at W. F. Wells’s cottage at Knockholt, Kent,73
‘Bridge and Cows,’73
Development of the so-called ‘Flint Castle,’75
‘Basle,’78
‘Little Devil’s Bridge,80
‘London from Greenwich,’80
‘Kirkstall Crypt,’81
Etchings of the so-called ‘Raglan Castle’ and ‘Source of the Arveron,’82
Suggestion for the better exhibition of the ‘Liber Studiorum’ drawings,83
VII. THE SPLENDOUR OF SUCCESS, OR ‘WHAT YOU WILL’—1813-1830,84
Survey of the ground we have covered,84
The training of Turner’s sympathies by the Poets,85
The limits of artistic beauty,86
The predominantly sensuous bent of Turner’s genius,86
The parting of the ways,87
The influence of the Academy and society,88
Turner’s first visit to Italy,89
The Naturalistic fallacy,95
Turner’s work for the engraver,97
VIII. MENTAL AND PHYSICAL DECAY, AND THE ORIGIN OF IMPRESSIONISM—1830-1845,116
Mental Characteristics of the 1815-1830 period,116
Their influence on form and colour,117
Colour enrichment a general characteristic of Romantic art,118
What further development is required to give the transition to Impressionism?118
Turner’s first Impressionistic work,119
Vagueness as a means of expression,119
Two ways of painting one’s impressions. Turner’s earlier way contrasted with the modern Impressionistic way,119
The change after 1830 is it a change in terms of sight or of thought—visual or mental?120
The content of Turner’s later work,120
Relation of Turner’s later work to Impressionism defined,121
The historical development of Turner’s later manner,126
The Petworth sketches,126
Discovery of the artistic value of the Indeterminate,128
‘Rivers of France,’129
Venetian sketches,131
Swiss and Rhine sketches,134
The end,135
IX. CONCLUSION,136
The distinction between Art-criticism and Aesthetic,136
The aim of this chapter,137
Art and physical fact,137
The ‘common-sense’ conception of landscape art as evidence of fact,137
Mr. Ruskin’s treatment of the relation of Art and Nature,138
His confusion of Nature and Mind,140
Art as a form of communication implies that the dualism of Nature and Mind is overcome,143
What does Art represent?144
An individualised psychical content present to the mind of the artist,145
Classification of Turner’s sketches and studies from the point of view of their logical content,146
The assertions in a work of art do not directly qualify the ordinary real world, but an imaginary world specially constructed for the artist’s purpose,150
The ideal of complete definition,151
Yet the content must determine the form,151
Plea for a dynamic study of Artistic form,153
INDEX,155

 

LIST OF PLATES

All the Drawings are in the National Gallery, unless otherwise specified.

(The numbers, etc., in brackets refer to the position of the Drawings in the Official Inventory.)

 The Pass of Faïdo, St. Gothard, Frontispiece
Water Colour. 1844. (CCCLXIV. 209.)
PLATE  PAGES
I.St. Vincent’s Tower, Naples,Between 6-7
Water-Colour. About 1787. (I.E.)
II.Central Portion of an Aquatint by Paul Sandby, after Fabris, entitled ‘Part of Naples, with the Ruin’d Tower of St. Vincent.’ Published 1st Jan. 1778, Between 6-7
III.Radley Hall: South Front,Facing 11
Water-Colour. About 1789. (III. D).
IV.View on the Avon, from Cook’s Folly,Facing 14
Water-Colour and Ink. About 1791. (VI. 24).
V.Lincoln Cathedral,Between 20-21
Water Colour, exhibited at Royal Academy, 1795.
In Print Room, British Museum.
VI.Lincoln Cathedral, from the South-west,Between 20-21
Pencil. 1794. (XXI. 0).
VII.Pony and Wheelbarrow,Facing 23
Pencil. 1794. (XXI. 27a).
VIII.Melincourt Fall, Vale of Neath,Facing 26
Pencil, part in Water-Colour. 1795. (XXVI. 8).
IX.Interior of Ripon Cathedral: North Transept,Facing 28
Pencil. 1797. (XXXV. 6).
X.Conway Falls, near Bettws-y-Coed,Facing 30
Water-Colour. About 1798. (XXXVIII. 71.)
XI.Conway Castle,Facing 32
Pencil. About 1798. (XXXVIII. 50a).
XII.Ruined Castle on Hill,Facing 34
Water-Colour. About 1798. (L. K.).
XIII.Study of Fallen Trees,Facing 36
Water-Colour. About 1798. (XLII. 18-19.)
XIV.Caernarvon Castle,Facing 37
Pencil. 1799. (XLVI. 51.)
XV.Cassiobury: North-west View,Facing 38
Pencil. About 1800. (XLVII. 41.)
XVI.Blair’s Hut on the Montanvert and Mer de Glace.
Sketch for the Water-Colour in the Farnley Collection,Facing 39
Water-Colour. 1802. (LXXV. 22.)
XVII.Study for the ‘Bridgewater Sea-piece,’Facing 42
Pen and ink, wash, and white chalk on blue paper. About 1801. (LXXXI. 122-123.)
XVIII.Study of a Barge with Sails Set,Facing 43
Pen and ink, wash, and white chalk on blue paper. About 1802. (LXXXI. 138-139.)
XIX.Fishermen launching Boat in a rough Sea,Facing 44
Pen and ink and wash. About 1802. (LXVIII. 3.)
XX.Study for ‘Sun rising through Vapour,’Facing 45
Black and white chalk on blue paper. About 1804. (LXXXI. 40.)
XXI.Study for ‘The Shipwreck,’Facing 47
Pen and ink and wash. About 1805. (LXXXVII. 16.)
XXII.Men-of-War’s Boats fetching Provisions (1),Facing 49
Pencil. About 1808. (XCIX. 18.)
XXIII.Men-of-War’s Boats fetching Provisions (2),Facing 50
Pencil. About 1808. (XCIX. 22.)
XXIV.‘The Inscrutable,’Facing 52
Pencil. About 1808. (CI. 18.)
XXV.Sketch for ‘Hedging and Ditching,’Between 56-57
Pencil. About 1807. (C. 47.)
XXVI.‘Hedging and Ditching,’Between 56-57
Wash drawing in Sepia for ‘Liber Studiorum.’ About 1808. (CXVII. W.)
XXVII. (a) Mill on the Grand Junction Canal, near Hanwell,
Pencil. About 1809. (CXIV. 72a-73). Facing 61
(b) ‘Windmill and Lock,’ Facing 61
Engraving published in ‘Liber Studiorum,’ 1st June, 1811. (R. 27).
XXVIII.Whalley Bridge and Village,Facing 62
Pencil. About 1808. (CIII. 8).
XXIX.Whalley Bridge. Sketch for the Picture exhibited at the Royal Academy. 1811. (Now in Lady Wantage’s Collection),Facing 63
Pencil. About 1808. (CIII. 6.)
XXX.London, from Greenwich Park,Facing 64
Pencil. About 1809. (CXX. H.)
XXXI.Petworth House, from the Lake,Facing 65
Pencil. About 1809. (CIX. 4.)
XXXII.Petworth House, from the Park,Facing 66
Pencil. About 1809. (CIX. 5.)
XXXIII.Cockermouth Castle,Facing 67
Pencil. About 1809. (CIX. 15.)
XXXIV.Landscape near Plymouth,Facing 68
Pencil. About 1812. (CXXXI. 96.)
XXXV.(a) Sandycombe Lodge and Grounds, Facing 69
Pen and Ink. About 1811. (CXIV. 73a-74.)
(b) Plan of Garden: Sandycombe Lodge,Facing 69
Pen and Ink. About 1812. (CXXVII. 21a.)
XXXVI.Scene on the French Coast,Between 74-75
Sepia. About 1806. (CXVI. C.)
XXXVII.Scene on the French Coast. Generally known as ‘Flint Castle: Smugglers,’Between 74-75
Print of etching, washed with Sepia. About 1807. (CXVI. D.)
XXXVIII.Juvenile Tricks,Facing 78
Sepia. About 1808. (CXVI. Z.)
XXXIX.Berry Pomeroy Castle. Generally known as ‘Raglan Castle,’Facing 79
Sepia. About 1813. (CXVIII. E.)
XL.The Alcove, Isleworth. Generally known as ‘Twickenham—Pope’s Villa,’ etc.,Facing 8
Sepia. About 1816. (CXVIII. I.)
XLI.Sheep-Washing, Windsor,Facing 81
Sepia. About 1818. (CXVIII. Q.)
XLII.View of a River, from a Terrace. Sometimes called ‘Macon,’Facing 82
Sepia. About 1818. (CXVIII. Y.)
XLIII.Crowhurst, Sussex,Facing 83
Sepia. About 1818. (CXVIII. R.)
XLIV.Kirkby Lonsdale Bridge,Facing 84
Pencil. About 1816. (CXLVIII. 4c-5.)
XLV.Raby Castle,Facing 85
Pencil. About 1817. (CLVI. 16a-17.)
XLVI.Raby Castle,Facing 86
Pencil. About 1817. (CLVI. 19a-20.)
XLVII.Raby Castle,Facing 87
Pencil. About 1817. (CLVI. 18a-19.)
XLVIII.Looking up the Grand Canal, Venice, from near the Accademia di Belle Arti,Facing 90
Pencil. 1819. (CLXXV. 70a-71.)
XLIX.St. Mark’s, Venice, with part of the Ducal Palace,Facing 91
Pencil. 1819. (CLXXV. 45.)
L.The Piazzetta, Venice, looking towards Isola di S. Giorgio Maggiore,Facing 92
Pencil. 1819. (CLXXV. 46a.)
LI.Rome, from Monte Mario,Facing 93
Pencil and Water-Colour. 1819. (CLXXXIX. 33.)
LII.Rome, from the Vatican,Facing 94
Pen and ink and Chinese white on grey. 1819. (CLXXXIX. 41.)
LIII.Trajan’s Column, in the Forum of Trajan,Facing 95
Pencil. 1819. (CLXXXVIII. 48.)
LIV.Study of Plants, Weeds, etc.,Facing 96
Pencil. About 1823. (CCV. 1a.)
LV.(a) Watchet, Somersetshire,Facing 100
Pencil. About 1811. (CXXIII. 170a.)
(b) Watchet, Somersetshire, Facing 100
Engraving published in ‘The Southern Coast’, 1st April, 1820.
LVI.(a) Boscastle, Cornwall,Facing 101
Pencil. About 1811. (CXXIII. 182.)
(b) Boscastle, Cornwall, Facing 101
Engraving published in ‘The Southern Coast,’ 10th March, 1825.
LVII.Hornby Castle, from Tatham Church,Between 102-103
Pencil. About 1816. (CXLVII. 41a-42.)
LVIII.Hornby Castle, from Tatham Church,Between 102-103
Engraving, from the Water-Colour in the Victoria and Albert Museum, published in Whitaker’s ‘Richmondshire,’ June, 1822.
LIX.(a) Heysham, with Black Combe, Coniston Old Man, Helvellyn, etc., in the distance,Between 104
Pencil. About 1816. (CXLVII. 40a-41).
(b) Heysham and Cumberland Mountains, Between 104
Engraving published in Whitaker’s ‘Richmondshire,’ 22nd August, 1822.
LX.(a) Edinburgh, from Calton Hill, Between 106-107
Pencil. 1818. (CLXVII. 39a.)
(b) Edinburgh, from the Calton Hill, Between 106-107
Engraving published in Scott’s ‘Provincial Antiquities of Scotland,’ 1st November, 1820.
(c) Edinburgh, from Calton Hill, Between 106-107
Pencil. 1818. (CLXVII. 40.)
(d) Figures on Calton Hill, Between 106-107
Pencil. 1818. (CLXVII. 40a.)
LXI.(a) Borthwick Castle, Facing 107
Pencil. 1818. (CLXVII. 76.)
(b) Borthwick Castle, Facing 107
Engraving published in Scott’s ‘Provincial Antiquities of Scotland,’ 2nd April, 1819.
LXII.(a) Rochester, Between 108-109
Pencil. About 1821. (CXCIX. 18.)
(b) Rochester, Between 108-109
Pencil. About 1821. (CXCIX. 21.)
LXIII.Rochester on the River Medway,Between 108-109
Water-Colour. About 1822. (CCVIII. W.)
LXIV.Bolton Abbey,Between 110-111
Pencil. About 1815. (CXXXIV. 81-82.)
LXV.Bolton Abbey,Between 110-111
Engraving published in ‘Picturesque Views in England and Wales,’ 1827.
LXVI.(a) Colchester, Between 110-111
Pencil. About 1824. (CCIX. 6a.)
(b) Colchester, Between 110-111
Pencil. About 1824. (CCIX. 7a.)
LXVII.Colchester, Essex,Between 110-111
Engraving, published in ‘Picturesque Views in England and Wales,’ 1827.
LXVIII.Stamford, Lincolnshire,Between 112-113
Pencil. 1797. (XXXIV. 86.)
LXIX.Stamford, Lincolnshire,Between 112-113
Engraving published in ‘Picturesque Views in England and Wales,’ 1830.
LXX.(a) Tynemouth Priory, Facing 113
Pencil, with part in Water-Colour, 1797. (XXXIV. 35.)
(b) Tynemouth, Northumberland, Facing 113
Engraving, published in ‘Picturesque Views in England and Wales,’ 1831.
LXXI.Bemerside Tower,Between 118-119
Pencil. About 1831. (CCLXVII. 82a.)
LXXII.Bemerside Tower,Between 111-118
Engraving published in Scott’s ‘Poetical Works’ (Cadell), 1834.
LXXIII.Men chatting round Fireplace: Petworth House,Facing 122
Water-Colour. About 1830. (CCXLIV. 82.)
LXXIV.Teasing the Donkey: Petworth,Facing 123
Water-Colour. About 1830. (CCXLIV. 97.)
LXXV.Honfleur,Facing 126
Water-Colour. About 1830. (CCLIX. 15.)
LXXVI.Country Town on Stream,Facing 127
Water-Colour. About 1830. (CCLIX. 16.)
LXXVII.Sheep in the Trench,Facing 128
Water-Colour. About 1830. (CCLIX. 17.)
LXXVIII.Shipping on the Riva degli Schiavone,Facing 129
Water-Colour. About 1839. (CCCXVI. 20.)
LXXIX.The Approach to Venice: Sunset,Facing 132
Water-Colour. About 1839. (CCCXVI. 16.)
LXXX.Riva degli Schiavone, from near the Public Gardens,Facing 133
Water-Colour. About 1839. (CCCXVI. 21.)
LXXXI.Freiburg: The Descent from the Hôtel de Ville,Facing 134
Water-Colour. About 1841. (CCCXXXV. 14.)
LXXXII.Ruined Castle on Rock,Facing 135
Water-Colour. About 1841. (CCCXXXIX. 5.)
LXXXIII.Village and Castle on the Rhine,Facing 140
Water-Colour. About 1844. (CCCXLIX. 22.)
LXXXIV.The Via Mala,Facing 141
Water-Colour. About 1844. (CCCLXIV. 362.)
LXXXV.On the Rhine,Facing 148
Water-Colour. 1844. (CCCXLIX. 20.)
LXXXVI.Baden, looking North,Facing 149
Water-Colour. 1844. (CCCXLIX. 14.)
LXXXVII.Lucerne: Evening,Facing 152
Water-Colour. 1844. (CCCXLIV. 324.)