Joseph Mallord William Turner : 1775-1851
Among British artists colossus rises extraordinarily wonderful piece of one of the brilliant representatives of the art world - Joseph Mellorda William Turner. He was only 15 years old, when his paintings at the Royal Academy. English painting the beginning of the XIX century, knew a few great artists. Constable and Turner were the main currents of romanticism of the era. Romantics sought to display their works in the unknown mystery of the world. The originality of English Romanticism, which is characterized by a profound sense of nature, not represented in the static and in motion, and often supplemented by the presence of people, most evident in the genre of landscape. Turner was so full of romantic landscape warehouse, which was able to comprehend the art of transmission neukroschennoy nature. His bold color to landscapes and svetovozdushnym searches differ unusual effects, a colorful fantasy of nature.
Diverse talent, the ability to punch his way alone, in combination with a deep understand the traditions of old masters led him to worldwide success, it is almost impossible for the artist and landscape painter in the XVIII century.
Turner was born in the thick of a close lanes of London, on the banks of the Thames, April 23, 1775. Here, the boy felt the pulse of life of the vast commercial city. His father had tsiryulnyu, among the regular visitors of which there were many artists and engravers. Therefore, there was nothing surprising in the fact that the father of Turner's weight in store and watercolors of his son, when that barely a dozen years, and was selling them for two or three shillings apiece. These were the first copies of the then fashionable kinds of spectacular topographical areas, castles, ruins and architectural monuments of London. His father considered his son drawing class does not empty as entertainment but as a fairly faithful source of bedding. At the end of XVIII century in England were very popular topographical sketches, and then translated into engravings that illustrate the various guidebooks, and descriptions. On the recommendation of some artists, noting talented boy pictures, enrolled him in December of 1789 at the Royal Academy students, free. When Turner was only 15 years old, one of his paintings was accepted for exhibition at the Academy.
Turner close to a circle of Doctor Monroe and the best English masters of watercolor, enthusiastic with new ideas "charm images grand, majestic landscape." A huge influence on Turner has also Gilpin doctrine of harmony of colors, advised "to keep the whole picture to the main, or key tone, which always have to take the landscape with cloudless sky plot." In Monroe House Painters for the most copied works of old masters, and Turner, which would see the achievement of an artist who wrote the original copy instead of a picture in the appropriate style.
Gradually, Turner is moving from watercolor to oil painting. Turner is firmly decided to obtain recognition and a lifetime trying to prove that the landscape may express the highest sense of the notion and is not worse than the historical picture. The first painting, which he showed at an academic exhibition in 1796, has been painting Fishermen at Sea "or" Marina Chomli. It represents several fishing vessels on the high seas at night. Moonlight, effuse breakthroughs in the clouds, the light on the waves of the boat, which is flashing red light lamp. Turner develops unusual for him the possibility of oil painting: it increases the contrast between the lit and dark parts, and trying to pass barely perceptible difference reflexes lamp glare from the lunar light on moving water surface of the ocean. Already in this first painting with oil, he builds a troubled light oval composition and vague halo surrounds month. Turner put in this picture of his tragic sense of the volatility of life in the fragility of free-foam rolls, a collision of sharp diagonals of masts and sails and the hopelessness of efforts koposhaschihsya boat people vyhvachennyh from the shadow of the impending storm accidentally break beam. The characteristic oval compositions particularly clearly visible in the preparatory drawing with his black громадой prostrate on the ship's side and trying napererez it to orbit the huge wave curve utloy lodchonki, white sail which is rapidly rushing to his death and just cries out for help.
A further step forward Turner noticeable in the film "Lake Battermir with Rainbow and shower, shown two years later. Turner is trying to express in his paintings a sense of sublime romantic merger with nature. Maybe from here and the contrast enhanced lightning clouds, dark mountains on both sides and gave shining in the center of the valley, which falls one end you with the colors of the rainbow. By the way, a rainbow is reflected in the water, which in fact can not be, because it does not occupy a particular place in space. But Turner never troubled preposterous if it were needed in the picture. The artist is fascinated by this transfer of air and the prospects for finding a delicate gradations of light conversion.
Turner had the habit of accompanying the title of his paintings in the exhibition catalog with quotations from their favorite poets Thomson, Milton, or their own poems. And these quotes are almost always related to either light or some atmospheric phenomena.
Sea, sun and fog were favorite themes of the artist. In the painting "The Sun arising in the fog. Fishermen sell fish" (1807), these three motive connected to the harmonic whole.
In early works the artist has a special emotional sincerity, so as to lyrical fragments free expression rights. Although the basis of Turner's songs - even later, even those that are as unclear in light fantasy, is a strictly linear pattern-researched, clearly identifies not only the spatial plans, but each volume object.
Turner wanted to create a kind of encyclopedia of the landscape, to show the full diversity of its capacity and range. He wanted to prove that the landscape can cause a variety of emotions and feelings, and bear a variety of ideas and images. Turner boldly taken for the execution of the enormous task - to create one hundred songs, covering all types of landscape - the "historical, pastoral, architectural, marine and mining." Map edition has been almost completed, has already logged more than a dozen songs and engravings, when Turner left the whole idea.
Bred on the aesthetic theories of the Enlightenment, Turner found it my duty to respond to the invitation of the Academy to read the walls in her course perspective. "The main thing, which must be pursued in the arts - is to the right comprehension of beauty in nature," - he said in the outline of his first introductory lecture. Turner, so carefully studied the nature, so was put to its establishment and has been endowed with rich такою fantasy that one day, composing in 1806 the magic picture "Gesperidsky garden", he wrote a fantastic dragon-conservator in the same form that was one antediluvian animal then dig (iguanodon). In his lecture Turner tried to include all of Euclid and Pliny to the latest scientific theories, discoveries and theories of chemists and opticians the beginning of the XIX century, but it does not ignore the difference between the laws, open science, including optics, and the rules suitable for painters. He lectures the questions considered in the light, shadows, and the problem of reflexes in the water, glass and metal, the question of the ratio of basic geometric forms to shape into art, about the nature and structure of the eye, the classification of the three primary colors - red, yellow and blue - according to tone of their relationship and the physiological impact of color in general, which he considered a crucial element of painting. Turner is also interested in chemistry, he was familiar with the chemist Field, which is engaged in the production of paints for artists. And Turner is always interested in the practical application of new regulations and discoveries of science to the process of painting. Turner was familiar with the most famous physicist of his time - Faraday and Bryusterom. He intuitively presentiment of future scientific discoveries: in the words of Kenneth Clark, "it is instinctive understanding of the physical world of our planet, created by pulsation and the endless waves of interpenetration makes Turner so universal, and connects it with the most outstanding physicists of our time."
It was this innovation in the paintings of that time. Turner dared to go against generally accepted art tradition. Indeed, whereas all firmly adhere to the policies that every picture must be written in hushfully-dark brownish color - become darkened by Luck on the canvas of old masters. Fans have been painting with a yellow filter, called "glass Claude Lorrain, and paste it in the eye instead monocle, when looking at pictures to see them painted in antique gold tone. Even a very modest attempt to pass Turner's bright, natural light and vysvetlit his palette was the reason for vituperative nicknames White Designer. White was considered "not beautiful" and it should be avoided. He seemed "too active", "not subject to discipline and harmony," are always outliers in tone. "
At this crucial time for the first time Turner gets to Italy, where he felt particularly hot weather, sun shine and radiance and enlightenment pronizannost light Italian nature. He held in Italy, only about five months. Turner has worked incredibly long, and he returns to the classic story. Paint it became so bright that the Constable even frightened: "Turner went mad from their skill, the picture painted saffron and indigo! And Turner himself thought that he had still not reached in their colors of glitter and dazzling lights, the intensity of the color of the southern nature that is forever etched in his phenomenal visual memory. This is liberated from conditional color symphony, he continued to hear internally and find ways of expression. Turner tended to the Venetian school, especially Titsianu, Veronese and Tintoretto.
After the second visit to Italy, in 1829 Turner had shown the best of his historical paintings Ulysses mocked Polyphemus "- the story of traditional and innovative interpretations of his work. Polyphemus - terrible giant Cyclops, the son of Poseidon, who lives alone in a cave, and grazing sheep. During his journey Odysseus arrives on the island and cunning blinds Polyphemus. The painting has a unique connection of ancient mythology with the latest scientific data and specific observations. One of the researchers called it Turner's canvas "color of mythology."
The painting depicts the ship of Ulysses, sail to deceive and blinded Polyphemus. Turner wrote the smoke rising from the mountains of Cyclops, and the huge figure of Polyphemus, merge with the mountain and the smoke is depicted as a "monstrous excrescence on a lonely hill." But the smoke, by Turner, rises not from the shepherd bonfires, as described in loose translation, but from the crater of a volcano. Turner zarisoval not only the eruption of Vesuvius, but framed her open the album to "Volcano put on it his signature" hot ashes. The island of Polyphemus - volcanic, and he as its integral part is directly related to the ideas of the natural forces of nature - in fact under the "Teogonii" Gesioda brothers Polyphemus, Sterop and Arges, was the personification of thunder and lightning. At the end of XVIII century, was launched by the scientific hypothesis that volcanic ash and lightning discharges in the form of electricity meteorites. During the fall of meteorites greatest sound of thunder. A sea cave on the left side of the picture, in the depths where the flame ablaze, according to their size, not housing Cyclops, and, perhaps, are the embodiment of yet another theory - Erasmus Darwin, considered that the origin of volcanoes associated with the injection of sea water in the blazing earth . In the "Odyssey" is silent on Staiky siyayuschih nereid, rezvyaschihsya around galleys Uliss. Turner used his lecture to the popular at the time the direction of "The Art of Painting" Leressa that the nereid should correspond to "different qualities and effects of water." In this picture nereid with stars in his forehead seemed to embody, upon the recommendation of the Turner, the phenomenon of phosphorescence in nature. A well-known revolutionary and scientist Joseph Priestley gave a summary of the details of the luminescence of certain items due to rotting, and other phenomena of phosphorescence, in his study "The history and present situation of discoveries in the field of view, light and color" (1772). This book Turner also used in preparation for his lectures, like the poem "Botanic Garden" Erasmus Darwin. In the latter describes the observations of travelers to tropical seas, where the boat floats, as if surrounded by lights, and reserves the glowing trail. And if the sea is slightly worried, every drop of light and shimmers. Another unique feature of "Ulysses" - quite a special pre-treatment sky. At first glance, the heavens, which played a wonderful enchanting sunrise, are in a very accurate observation. But close look will see that the place the appearance of lights fan deployed image vzdyblennyh horses, fire-defined contour, voznosyaschihsya in heaven with flying mane, surrounded by flashes of purple clouds. "These horses Aurora Turner taken directly from the pediment of the Parthenon sculptures. House Street, Queen Anne he kept plaster casts of the Parthenon sculptures. Thus, Turner has identified its allegorical horses Aurora with their prototypes in plastic. Turner also tried to combine the ideal and real, to merge with the mythological image of the real landscape. And in other scenes like structure is usually associated with collisions and transformations of elements, especially light and darkness. "Ulysses Turner - one of the steps leading to the fusion of history, reality and imagination in art, his later things.
"Ulysses" is melodrama, opera decorations noticed that galley Uliss sunny, even in those parts, which can not penetrate its rays, the contrast between darkness and brilliance Cyclops Cave of the morning sky is too big. But Turner never embarrassed inaccuracies naturalistic order, he boldly to increase the size of castles, or bell-towers, move them there, where they deem fit, if the required structure of the painting, or increased sonority of color, if in his opinion, the significance of a win. Turner skeptic about the possibility of "unshakable", hard laws of color and light for painting.
One of the most interesting works Turner - a large oil painting "Juliet with his nanny," presented at the Art Exhibition in London in 1836. He allowed himself to move to the tragedy of Shakespeare's Verona to Venice, and painted with Juliet nanny lyubuyuschimisya with a flat roof of the palace at the bottom of carnival fun in the square of St.. Mark. Point of view is taken very much. Here, Turner is seeking not to the romantic effect and to the picturesque image of a prisoner of his landscape motif. His paintings have prepared for the perception of art works by several generations of English readers, among his works are illustrations of the poem Rogers and Walter Scott.
Among the colors remaining in the studio of the artist, there are twelve varieties of yellow. Four of them were new pigments that are open in the XIX century. Focusing on the yellow can be attributed not only purely technical interest in the new pigment, it was caused by its growing demand for clean, sheer bright colors. It should be noted that the teachings of the Goethe-yellow flowers is above all as the first derivative of light. Goethe connects it with the "calm, cheerful, mildly exciting character." Both the Turner joked: "They say I got myself all the yellow paint ..." Long the most important in painting, in addition to the plot, the transfer seemed tangible, volume represent, what could be achieved plasticity or clear. And Turner, by the end of life are translated into pure color: see the world, light, mood. But the color he was never arbitrary, it is full of deep significance.
Just look in the compositional scheme of Turner's late paintings, as it turns out that the perception of depth in them all the time is changing: there are at once impressed by a flat surface and the illusion of depth of care. The last impression is caused primarily by triangles shadows, creating a sort of tunnel, passing into the depths. One can distinguish three stages of perception of space in the paintings of Turner: the first appears only svetonosnaya colorful surface, the second, the surface begins to acquire the volume, depth, space, napoennoe air play of light on certain subjects, finally, even made some gestures, details, with meaningful of their closeness and laconicism. Turner has always admired the elemental fury, where everything is subordinated to the hurricane vortex cycling, where the rack with great rapidity as the grains of sand form a wall of rotating an empty funnel around the sun. Indeed, the struggle of light and darkness - the main theme of Turner.
He is constantly looking for unusual events, the most perfect and unexpected image of a storm at sea is given in Turner's painting in 1842 "Metel. Steamship out of the harbor and make a distress call came in shallow water." In the catalog, in a footnote to the title, added: "The author was in this stormy night in" Ariel. "Turner, if put in this tragic outlook - foreboding threatening world catastrophes. It seemed that the picture of rage elements: avalanches, storms, blizzards and Hurricane - generally, any extraordinary state of nature can be adequately convey dismay human heart and mind, cleanse the soul and consciousness.
Huge ocean rollers, heavy fog and sleet vortices merge into a single frenetic whirlwind. Center serves as its unclear delineation ship. But it is something more than mere external description of the storm. This embodiment not only of observations on the nature of rage, or some visual impressions, and the creation of a indecomposable unity - elemental tumult, paints and home entertainment. Criticism, of course, did not fail picture called "soap foam, mixed with a solution to the whitewashing." Turner was angry: "I wrote it not to make her understand, I just wanted to show what it looks like. I urged sailors to tie me to the mast, so that I could watch, I was strapped for four hours, I do not hope to survive, but I feel obliged to give account of it, if utseleyu. A picture is not obliged to like anyone. " When Oxford student tried to comfort the old man, he shouted: "Yes, and seen whether they will ever sea?"
It does not have a landscape with a similar viewpoint. In Turner's stage is almost always embraces a few dozen miles, it is huge space, and over the prospect of endless reigns majestic range of the sun ...
Thus, Turner increasingly moving away from detailed narrative. For expression of the idea he would be just shy and do not necessarily convert all the details of how the philosopher, in formulating his idea.
Turner paid a lot of time studying the different states of the atmosphere and lighting, and especially the sky as the master key in the landscape. Turner told that in order to study the clouds, he took a boat, lay down on her bottom on his back, throwing an anchor in the river, watching the sky for hours and sometimes all day until the capture of a light effect that he would like to move on cloth.
Turner captivates turnover of clouds and their continuous change and movement, as it were implemented on the front of the viewer. The purpose of such experiments - fixing continually changing color-Light Symphony sky.
The first European painting Turner painted atmospheric effects. Fog, mist the air at sunset, clubs or just steam vapor cloud became his full motives. Turner has created a series of watercolors "Rivers of France", which included a very detailed watercolor "Rouen Cathedral" made on the basis of the outline, even in 1821. She frequently exhibited in the XIX century, and perhaps the impetus for a series of paintings of Rouen Cathedral by Claude Monet (1892-1894). Monet has been visited in London, was, in particular, in 1892 and studied the things Turner. In some watercolors predates Monet Turner, trying to capture the same place at different times of day.
"Frigate" Brave ", towed to the site of the last stop for scrap (1838) - the work of the late period. The artist himself saw the unfortunate vessel pulled into Margeyt when accompanied by a funeral procession of his deceased friend, Lord Egremonta in Petvort. This event shocked him: all the leaves and everything changes. After all, he wrote "courageous" - an active participant in the famous Battle of Trafalgar - at its earliest painting in 1808. And now, "Brave" was not needed. A small, nondescript black tug, busily dissolving pyhtya and red tail of smoke, pulls great, siyayusche-white, stately frigate battle to the last parking place, marked by black buoys. During the "courageous" seen a few white ghosts of sailing ships, threatened the same fate. The left side is the cool blue canvas with the new moon, reflected in the calm greenish jets, and orange-red sunset right with a white disk setting sun, all the contrasts of light and darkness coming, hot and cold tones, old and new - not only to lament on the outgoing world but also a kind of acceptance of the inevitability of destruction and renewal.
Turner, as we have seen, one of the few artists who have taken these inevitable changes. During his long life he saw the London native has become a large village of his childhood in one of the world's major industrial centers. And Turner first put it in their works. The complexity of color solutions "bold" with his roll of cold bluish-violet, and warm orange-alyh colors reflect the complexity, but not bleak picture of the emotional damage. Critics have attacked Turner for his "extravagance," it is inconceivable to combine on one canvas moon and sun, and so on. Only the most insightful, like WM Thackeray, evaluated on merits that, as he described, "a national ode.
Yet by the end of 1830-ies Turner finally went out of fashion. In court circles, he has never enjoyed the success. Freedom and the breadth of his writing is very different from growing pettiness and vylizannosti "paintings by the great majority of successful artists of the mid-Victorian age. But over the years that he exhibited, viewers are accustomed to his "freak". He managed to win in the first quarter of a century, a new, much wider audience: middle class intellectuals who understand art, but could not afford to buy expensive paintings. At the swearing criticism Turner stopped responding. He no longer wanted to sell their most significant works - he did it for ourselves and future generations.
... He died potyanuvshis to the window, to once again look at the Thames and in the sun. The doctor who was present at his death, wrote that "just before the nine hours of sun and looked out his ray fell directly on him - a bright, as he liked to watch."
Contemporaries of Joseph Mellorda Turner called him a painter of "golden visions, magnificent and beautiful, though not in substance." It is designed to depict the sun, sunlight and solar lighting to такою righteousness before him in a painting has not yet happened. And he began to seek the transfer of the sun in all its effulgence. He searched for a long time, but its made and expressed on the canvas what it was even earlier in fact, not painted. It whimsically combined virtuoso technique and twist of the tongue, closure and the desire to serve people, practical nous, and philanthropy, the veneration of the picturesque traditions of the past and the tireless quest for their own language. All created by Turner, the largest English artist, was so varied and reflect the search for such bold and open, that we can say that he had worked for generations to come. The artist took the difficult path of complex searches and rose to the understanding of reality as a unity of color and light in their subtle movement, devoid of material, tangible form.
너무 길다보니 구글 번역기도 본문 전체를 번역 못하네요. ^^ 중간만 번역하고 나머지는 원문을 그대로 토해내네요..
네이버 지식iN에 그에 대한 설명이 나와있네요.
http://kin.naver.com/open100/...
Among British artists colossus rises extraordinarily wonderful piece of one of the brilliant representatives of the art world - Joseph Mellorda William Turner. He was only 15 years old, when his paintings at the Royal Academy. English painting the beginning of the XIX century, knew a few great artists. Constable and Turner were the main currents of romanticism of the era. Romantics sought to display their works in the unknown mystery of the world. The originality of English Romanticism, which is characterized by a profound sense of nature, not represented in the static and in motion, and often supplemented by the presence of people, most evident in the genre of landscape. Turner was so full of romantic landscape warehouse, which was able to comprehend the art of transmission neukroschennoy nature. His bold color to landscapes and svetovozdushnym searches differ unusual effects, a colorful fantasy of nature.
Diverse talent, the ability to punch his way alone, in combination with a deep understand the traditions of old masters led him to worldwide success, it is almost impossible for the artist and landscape painter in the XVIII century.
Turner was born in the thick of a close lanes of London, on the banks of the Thames, April 23, 1775. Here, the boy felt the pulse of life of the vast commercial city. His father had tsiryulnyu, among the regular visitors of which there were many artists and engravers. Therefore, there was nothing surprising in the fact that the father of Turner's weight in store and watercolors of his son, when that barely a dozen years, and was selling them for two or three shillings apiece. These were the first copies of the then fashionable kinds of spectacular topographical areas, castles, ruins and architectural monuments of London. His father considered his son drawing class does not empty as entertainment but as a fairly faithful source of bedding. At the end of XVIII century in England were very popular topographical sketches, and then translated into engravings that illustrate the various guidebooks, and descriptions. On the recommendation of some artists, noting talented boy pictures, enrolled him in December of 1789 at the Royal Academy students, free. When Turner was only 15 years old, one of his paintings was accepted for exhibition at the Academy.
Turner close to a circle of Doctor Monroe and the best English masters of watercolor, enthusiastic with new ideas "charm images grand, majestic landscape." A huge influence on Turner has also Gilpin doctrine of harmony of colors, advised "to keep the whole picture to the main, or key tone, which always have to take the landscape with cloudless sky plot." In Monroe House Painters for the most copied works of old masters, and Turner, which would see the achievement of an artist who wrote the original copy instead of a picture in the appropriate style.
Gradually, Turner is moving from watercolor to oil painting. Turner is firmly decided to obtain recognition and a lifetime trying to prove that the landscape may express the highest sense of the notion and is not worse than the historical picture. The first painting, which he showed at an academic exhibition in 1796, has been painting Fishermen at Sea "or" Marina Chomli. It represents several fishing vessels on the high seas at night. Moonlight, effuse breakthroughs in the clouds, the light on the waves of the boat, which is flashing red light lamp. Turner develops unusual for him the possibility of oil painting: it increases the contrast between the lit and dark parts, and trying to pass barely perceptible difference reflexes lamp glare from the lunar light on moving water surface of the ocean. Already in this first painting with oil, he builds a troubled light oval composition and vague halo surrounds month. Turner put in this picture of his tragic sense of the volatility of life in the fragility of free-foam rolls, a collision of sharp diagonals of masts and sails and the hopelessness of efforts koposhaschihsya boat people vyhvachennyh from the shadow of the impending storm accidentally break beam. The characteristic oval compositions particularly clearly visible in the preparatory drawing with his black громадой prostrate on the ship's side and trying napererez it to orbit the huge wave curve utloy lodchonki, white sail which is rapidly rushing to his death and just cries out for help.
A further step forward Turner noticeable in the film "Lake Battermir with Rainbow and shower, shown two years later. Turner is trying to express in his paintings a sense of sublime romantic merger with nature. Maybe from here and the contrast enhanced lightning clouds, dark mountains on both sides and gave shining in the center of the valley, which falls one end you with the colors of the rainbow. By the way, a rainbow is reflected in the water, which in fact can not be, because it does not occupy a particular place in space. But Turner never troubled preposterous if it were needed in the picture. The artist is fascinated by this transfer of air and the prospects for finding a delicate gradations of light conversion.
Turner had the habit of accompanying the title of his paintings in the exhibition catalog with quotations from their favorite poets Thomson, Milton, or their own poems. And these quotes are almost always related to either light or some atmospheric phenomena.
Sea, sun and fog were favorite themes of the artist. In the painting "The Sun arising in the fog. Fishermen sell fish" (1807), these three motive connected to the harmonic whole.
In early works the artist has a special emotional sincerity, so as to lyrical fragments free expression rights. Although the basis of Turner's songs - even later, even those that are as unclear in light fantasy, is a strictly linear pattern-researched, clearly identifies not only the spatial plans, but each volume object.
Turner wanted to create a kind of encyclopedia of the landscape, to show the full diversity of its capacity and range. He wanted to prove that the landscape can cause a variety of emotions and feelings, and bear a variety of ideas and images. Turner boldly taken for the execution of the enormous task - to create one hundred songs, covering all types of landscape - the "historical, pastoral, architectural, marine and mining." Map edition has been almost completed, has already logged more than a dozen songs and engravings, when Turner left the whole idea.
Bred on the aesthetic theories of the Enlightenment, Turner found it my duty to respond to the invitation of the Academy to read the walls in her course perspective. "The main thing, which must be pursued in the arts - is to the right comprehension of beauty in nature," - he said in the outline of his first introductory lecture. Turner, so carefully studied the nature, so was put to its establishment and has been endowed with rich такою fantasy that one day, composing in 1806 the magic picture "Gesperidsky garden", he wrote a fantastic dragon-conservator in the same form that was one antediluvian animal then dig (iguanodon). In his lecture Turner tried to include all of Euclid and Pliny to the latest scientific theories, discoveries and theories of chemists and opticians the beginning of the XIX century, but it does not ignore the difference between the laws, open science, including optics, and the rules suitable for painters. He lectures the questions considered in the light, shadows, and the problem of reflexes in the water, glass and metal, the question of the ratio of basic geometric forms to shape into art, about the nature and structure of the eye, the classification of the three primary colors - red, yellow and blue - according to tone of their relationship and the physiological impact of color in general, which he considered a crucial element of painting. Turner is also interested in chemistry, he was familiar with the chemist Field, which is engaged in the production of paints for artists. And Turner is always interested in the practical application of new regulations and discoveries of science to the process of painting. Turner was familiar with the most famous physicist of his time - Faraday and Bryusterom. He intuitively presentiment of future scientific discoveries: in the words of Kenneth Clark, "it is instinctive understanding of the physical world of our planet, created by pulsation and the endless waves of interpenetration makes Turner so universal, and connects it with the most outstanding physicists of our time."
It was this innovation in the paintings of that time. Turner dared to go against generally accepted art tradition. Indeed, whereas all firmly adhere to the policies that every picture must be written in hushfully-dark brownish color - become darkened by Luck on the canvas of old masters. Fans have been painting with a yellow filter, called "glass Claude Lorrain, and paste it in the eye instead monocle, when looking at pictures to see them painted in antique gold tone. Even a very modest attempt to pass Turner's bright, natural light and vysvetlit his palette was the reason for vituperative nicknames White Designer. White was considered "not beautiful" and it should be avoided. He seemed "too active", "not subject to discipline and harmony," are always outliers in tone. "
At this crucial time for the first time Turner gets to Italy, where he felt particularly hot weather, sun shine and radiance and enlightenment pronizannost light Italian nature. He held in Italy, only about five months. Turner has worked incredibly long, and he returns to the classic story. Paint it became so bright that the Constable even frightened: "Turner went mad from their skill, the picture painted saffron and indigo! And Turner himself thought that he had still not reached in their colors of glitter and dazzling lights, the intensity of the color of the southern nature that is forever etched in his phenomenal visual memory. This is liberated from conditional color symphony, he continued to hear internally and find ways of expression. Turner tended to the Venetian school, especially Titsianu, Veronese and Tintoretto.
After the second visit to Italy, in 1829 Turner had shown the best of his historical paintings Ulysses mocked Polyphemus "- the story of traditional and innovative interpretations of his work. Polyphemus - terrible giant Cyclops, the son of Poseidon, who lives alone in a cave, and grazing sheep. During his journey Odysseus arrives on the island and cunning blinds Polyphemus. The painting has a unique connection of ancient mythology with the latest scientific data and specific observations. One of the researchers called it Turner's canvas "color of mythology."
The painting depicts the ship of Ulysses, sail to deceive and blinded Polyphemus. Turner wrote the smoke rising from the mountains of Cyclops, and the huge figure of Polyphemus, merge with the mountain and the smoke is depicted as a "monstrous excrescence on a lonely hill." But the smoke, by Turner, rises not from the shepherd bonfires, as described in loose translation, but from the crater of a volcano. Turner zarisoval not only the eruption of Vesuvius, but framed her open the album to "Volcano put on it his signature" hot ashes. The island of Polyphemus - volcanic, and he as its integral part is directly related to the ideas of the natural forces of nature - in fact under the "Teogonii" Gesioda brothers Polyphemus, Sterop and Arges, was the personification of thunder and lightning. At the end of XVIII century, was launched by the scientific hypothesis that volcanic ash and lightning discharges in the form of electricity meteorites. During the fall of meteorites greatest sound of thunder. A sea cave on the left side of the picture, in the depths where the flame ablaze, according to their size, not housing Cyclops, and, perhaps, are the embodiment of yet another theory - Erasmus Darwin, considered that the origin of volcanoes associated with the injection of sea water in the blazing earth . In the "Odyssey" is silent on Staiky siyayuschih nereid, rezvyaschihsya around galleys Uliss. Turner used his lecture to the popular at the time the direction of "The Art of Painting" Leressa that the nereid should correspond to "different qualities and effects of water." In this picture nereid with stars in his forehead seemed to embody, upon the recommendation of the Turner, the phenomenon of phosphorescence in nature. A well-known revolutionary and scientist Joseph Priestley gave a summary of the details of the luminescence of certain items due to rotting, and other phenomena of phosphorescence, in his study "The history and present situation of discoveries in the field of view, light and color" (1772). This book Turner also used in preparation for his lectures, like the poem "Botanic Garden" Erasmus Darwin. In the latter describes the observations of travelers to tropical seas, where the boat floats, as if surrounded by lights, and reserves the glowing trail. And if the sea is slightly worried, every drop of light and shimmers. Another unique feature of "Ulysses" - quite a special pre-treatment sky. At first glance, the heavens, which played a wonderful enchanting sunrise, are in a very accurate observation. But close look will see that the place the appearance of lights fan deployed image vzdyblennyh horses, fire-defined contour, voznosyaschihsya in heaven with flying mane, surrounded by flashes of purple clouds. "These horses Aurora Turner taken directly from the pediment of the Parthenon sculptures. House Street, Queen Anne he kept plaster casts of the Parthenon sculptures. Thus, Turner has identified its allegorical horses Aurora with their prototypes in plastic. Turner also tried to combine the ideal and real, to merge with the mythological image of the real landscape. And in other scenes like structure is usually associated with collisions and transformations of elements, especially light and darkness. "Ulysses Turner - one of the steps leading to the fusion of history, reality and imagination in art, his later things.
"Ulysses" is melodrama, opera decorations noticed that galley Uliss sunny, even in those parts, which can not penetrate its rays, the contrast between darkness and brilliance Cyclops Cave of the morning sky is too big. But Turner never embarrassed inaccuracies naturalistic order, he boldly to increase the size of castles, or bell-towers, move them there, where they deem fit, if the required structure of the painting, or increased sonority of color, if in his opinion, the significance of a win. Turner skeptic about the possibility of "unshakable", hard laws of color and light for painting.
One of the most interesting works Turner - a large oil painting "Juliet with his nanny," presented at the Art Exhibition in London in 1836. He allowed himself to move to the tragedy of Shakespeare's Verona to Venice, and painted with Juliet nanny lyubuyuschimisya with a flat roof of the palace at the bottom of carnival fun in the square of St.. Mark. Point of view is taken very much. Here, Turner is seeking not to the romantic effect and to the picturesque image of a prisoner of his landscape motif. His paintings have prepared for the perception of art works by several generations of English readers, among his works are illustrations of the poem Rogers and Walter Scott.
Among the colors remaining in the studio of the artist, there are twelve varieties of yellow. Four of them were new pigments that are open in the XIX century. Focusing on the yellow can be attributed not only purely technical interest in the new pigment, it was caused by its growing demand for clean, sheer bright colors. It should be noted that the teachings of the Goethe-yellow flowers is above all as the first derivative of light. Goethe connects it with the "calm, cheerful, mildly exciting character." Both the Turner joked: "They say I got myself all the yellow paint ..." Long the most important in painting, in addition to the plot, the transfer seemed tangible, volume represent, what could be achieved plasticity or clear. And Turner, by the end of life are translated into pure color: see the world, light, mood. But the color he was never arbitrary, it is full of deep significance.
Just look in the compositional scheme of Turner's late paintings, as it turns out that the perception of depth in them all the time is changing: there are at once impressed by a flat surface and the illusion of depth of care. The last impression is caused primarily by triangles shadows, creating a sort of tunnel, passing into the depths. One can distinguish three stages of perception of space in the paintings of Turner: the first appears only svetonosnaya colorful surface, the second, the surface begins to acquire the volume, depth, space, napoennoe air play of light on certain subjects, finally, even made some gestures, details, with meaningful of their closeness and laconicism. Turner has always admired the elemental fury, where everything is subordinated to the hurricane vortex cycling, where the rack with great rapidity as the grains of sand form a wall of rotating an empty funnel around the sun. Indeed, the struggle of light and darkness - the main theme of Turner.
He is constantly looking for unusual events, the most perfect and unexpected image of a storm at sea is given in Turner's painting in 1842 "Metel. Steamship out of the harbor and make a distress call came in shallow water." In the catalog, in a footnote to the title, added: "The author was in this stormy night in" Ariel. "Turner, if put in this tragic outlook - foreboding threatening world catastrophes. It seemed that the picture of rage elements: avalanches, storms, blizzards and Hurricane - generally, any extraordinary state of nature can be adequately convey dismay human heart and mind, cleanse the soul and consciousness.
Huge ocean rollers, heavy fog and sleet vortices merge into a single frenetic whirlwind. Center serves as its unclear delineation ship. But it is something more than mere external description of the storm. This embodiment not only of observations on the nature of rage, or some visual impressions, and the creation of a indecomposable unity - elemental tumult, paints and home entertainment. Criticism, of course, did not fail picture called "soap foam, mixed with a solution to the whitewashing." Turner was angry: "I wrote it not to make her understand, I just wanted to show what it looks like. I urged sailors to tie me to the mast, so that I could watch, I was strapped for four hours, I do not hope to survive, but I feel obliged to give account of it, if utseleyu. A picture is not obliged to like anyone. " When Oxford student tried to comfort the old man, he shouted: "Yes, and seen whether they will ever sea?"
It does not have a landscape with a similar viewpoint. In Turner's stage is almost always embraces a few dozen miles, it is huge space, and over the prospect of endless reigns majestic range of the sun ...
Thus, Turner increasingly moving away from detailed narrative. For expression of the idea he would be just shy and do not necessarily convert all the details of how the philosopher, in formulating his idea.
Turner paid a lot of time studying the different states of the atmosphere and lighting, and especially the sky as the master key in the landscape. Turner told that in order to study the clouds, he took a boat, lay down on her bottom on his back, throwing an anchor in the river, watching the sky for hours and sometimes all day until the capture of a light effect that he would like to move on cloth.
Turner captivates turnover of clouds and their continuous change and movement, as it were implemented on the front of the viewer. The purpose of such experiments - fixing continually changing color-Light Symphony sky.
The first European painting Turner painted atmospheric effects. Fog, mist the air at sunset, clubs or just steam vapor cloud became his full motives. Turner has created a series of watercolors "Rivers of France", which included a very detailed watercolor "Rouen Cathedral" made on the basis of the outline, even in 1821. She frequently exhibited in the XIX century, and perhaps the impetus for a series of paintings of Rouen Cathedral by Claude Monet (1892-1894). Monet has been visited in London, was, in particular, in 1892 and studied the things Turner. In some watercolors predates Monet Turner, trying to capture the same place at different times of day.
"Frigate" Brave ", towed to the site of the last stop for scrap (1838) - the work of the late period. The artist himself saw the unfortunate vessel pulled into Margeyt when accompanied by a funeral procession of his deceased friend, Lord Egremonta in Petvort. This event shocked him: all the leaves and everything changes. After all, he wrote "courageous" - an active participant in the famous Battle of Trafalgar - at its earliest painting in 1808. And now, "Brave" was not needed. A small, nondescript black tug, busily dissolving pyhtya and red tail of smoke, pulls great, siyayusche-white, stately frigate battle to the last parking place, marked by black buoys. During the "courageous" seen a few white ghosts of sailing ships, threatened the same fate. The left side is the cool blue canvas with the new moon, reflected in the calm greenish jets, and orange-red sunset right with a white disk setting sun, all the contrasts of light and darkness coming, hot and cold tones, old and new - not only to lament on the outgoing world but also a kind of acceptance of the inevitability of destruction and renewal.
Turner, as we have seen, one of the few artists who have taken these inevitable changes. During his long life he saw the London native has become a large village of his childhood in one of the world's major industrial centers. And Turner first put it in their works. The complexity of color solutions "bold" with his roll of cold bluish-violet, and warm orange-alyh colors reflect the complexity, but not bleak picture of the emotional damage. Critics have attacked Turner for his "extravagance," it is inconceivable to combine on one canvas moon and sun, and so on. Only the most insightful, like WM Thackeray, evaluated on merits that, as he described, "a national ode.
Yet by the end of 1830-ies Turner finally went out of fashion. In court circles, he has never enjoyed the success. Freedom and the breadth of his writing is very different from growing pettiness and vylizannosti "paintings by the great majority of successful artists of the mid-Victorian age. But over the years that he exhibited, viewers are accustomed to his "freak". He managed to win in the first quarter of a century, a new, much wider audience: middle class intellectuals who understand art, but could not afford to buy expensive paintings. At the swearing criticism Turner stopped responding. He no longer wanted to sell their most significant works - he did it for ourselves and future generations.
... He died potyanuvshis to the window, to once again look at the Thames and in the sun. The doctor who was present at his death, wrote that "just before the nine hours of sun and looked out his ray fell directly on him - a bright, as he liked to watch."
Contemporaries of Joseph Mellorda Turner called him a painter of "golden visions, magnificent and beautiful, though not in substance." It is designed to depict the sun, sunlight and solar lighting to такою righteousness before him in a painting has not yet happened. And he began to seek the transfer of the sun in all its effulgence. He searched for a long time, but its made and expressed on the canvas what it was even earlier in fact, not painted. It whimsically combined virtuoso technique and twist of the tongue, closure and the desire to serve people, practical nous, and philanthropy, the veneration of the picturesque traditions of the past and the tireless quest for their own language. All created by Turner, the largest English artist, was so varied and reflect the search for such bold and open, that we can say that he had worked for generations to come. The artist took the difficult path of complex searches and rose to the understanding of reality as a unity of color and light in their subtle movement, devoid of material, tangible form.
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네이버 지식iN에 그에 대한 설명이 나와있네요.
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