All Joseph Mallord William Turner's oil paintings

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Oil Pantings, Sorted from A to Z

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52521

)Peace - Burial at Sea

1842 Oil on canvas, 87 x 86,5 cm

24461

A coast scene with fisherman hauling a boat ashore (mk31)

1803-1804 Oil on canvas 91.4x122cm The Iveagh Bequest,Kenwood.London

24464

Joseph Mallord William Turner, A country blacksmith disputing upon the price of iron,and the price charged to the butcher for shoeing his pony (mk310

A country blacksmith disputing upon the price of iron,and the price charged to the butcher for shoeing his pony (mk310

Oil on fir-plank 55x78cm

55101

A little suprise

mk239 1913 Oil on canvas 109.8x119.7cm

55157

A spot

mk239 1925 oil on canvas 75x55cm

55094

Abstract

mk239 1913 Oil on canvas

55098

Abstract

mk239 1914 Oil on canvas

55196

Accompany

mk239 1937 Oil on canvas 114x146cm

54870

Across the river

mk238 1815 Oil on canvas 193x165cm

55025

Africa

mk239 107x95.5cm

70120

Ancient Italy

Description Turner Ovid Banished from Rome.jpg Ancient Italy - Ovid Banished from Rome

54965

Angel

mk238 1746 Oil on canvas 78.5x78.5cm

3240

Angel Standing in a Storm

1846 Tate Gallery, London

55050

Angel-s judge

mk239 1911 Oil on canvas 85x74cm

55056

Anniversary of Saint

mk239 1911 Oil on canvas 50x64.5cm

55057

Anniversary of Saint

mk239 1911 34.5x40.5cm

88174

Ansicht von Orvieto

1828-1829 Medium Oil on canvas Dimensions 91,5 x 123 cm cjr

31832

Antwerp van goyen looking our for a subject

mk76 Painted in 1833 Oil on canvas 36 1/8x48 3/8in

3236

Approach to Venice

1843 24 1/2" x 37" National Gallery of Art, Washington DC

55168

Arc-s spot

mk239 1927 Oil on canvas 66x49cm

55220

Arrow

mk239 1943 Oil on canvas 42x57cm

55033

Artist 198

mk239 1914 oil on canvas 16.5x92.1cm

55162

Ase

mk239 1926 Oil on canvas 45x53cm

55217

Assemble

mk239 1940 Oil painting 81x116cm

54868

Augur

mk238 1814-1815 Oil on canvas 72x97cm

55046

Autumn-s tree

mk239 1910 Oil on canvas 32.8x44.1cm

21773

Avalanche in the Grisons (mk10)

1810 Oil on canvas 90 x 120 cm London,Tate Gallery

54927

Azrael

mk238 1825-1830 Oil on canvas 59.7x75.6cm

55209

Balance

mk239 1942 89x116cm

54864

Bay

mk238 1813 Oil on canvas 24.5x30.5cm

54954

Bay scene

mk238 1840-1845 30.5x47.5cm

54889

Beside the Nusikao

mk238 1827 Oil on canvas 43.7x61.3cm

55104

Bird

mk239 1916 Watercolour 34.2x34.2cm

55079

Black arc

mk239 Oil on canvas 1912 188x196cm

55133

Black block

mk239 1923 Oil on canvas 97.5x93cm

55140

Black Circle

mk239 1923 130x130cm Oil on canvas

55120

Black line

mk239 1913 130x131.5cm

55193

Black spot

mk239 1935 116x89cm

55176

Blue vapor

mk239 1928 30x18cm

54926

Boat

mk238 1831 Oil on canvas 91.4x122cm

54938

Boat

mk238 1830-1835 Oil on canvas 92.1x122.6cm

54843

Boat and war

mk238 1804 Oil on canvas 101.5x130.5cmn

54877

Boat in the breezee

mk238 1806-1807 Watercolour 18.4x26.2cm

24466

Bolton Abbey,Yorkshire (mk31)

1809 Watercolour 27.8x39.5cm

54905

Bolu

mk238 1826 Watercolour 28x40cm

84268

Boston in Lincolnshire

Date c.1833 Medium Oil on canvas Dimensions 28.8 x 42.3 cm (11.3 x 16.7 in) cjr

88154

Boston in Lincolnshire

1833 Medium Oil on canvas Dimensions 28.8 x 42.3 cm (11.3 x 16.7 in) cyf

54840

Bridge

mk238 1803-1804 Oil on canvas 76.8x62.8cm

54859

Bridge

mk238 1810 Oil on canvas 91.5x122cm

54863

Bridge

mk238 1817 Watercolour 19.9x31.1cm

54874

Bridge

mk238 1806-1807 Watercolour 18.1x25.8cm

54958

Bridge

mk238 1840-1845 Oil on canvas 86.3x117.5cm

24484

Bridge of Sighs,Ducal Palace and Custom-house (mk31)

Venice,Canaletto painting 1833 Oil on mahogany 51x82.5cm

55146

Bright

mk239 1924 Watercolour

55142

Brown

mk239 1924 Watercolour 48.5x33.3cm

55147

Brown

mk239 1924 Oil on canvas 83.1x72.7cm

30694

Burning of the Houses

mk68 Oil on canvas Philadelphia,Philadelphia Museum of Art 1835 Britain

54981

Bury

mk238 1841 Watercolour

78812

Buttermere Lake

Buttermere Lake, with Park of Cromackwater, Cumberland, a Shower (painting - oil on canvas) Date circa 1797-1798 cjr

81891

Buttermere Lake

circa 1797-1798 cyf

3209

Buttermere Lake : A Shower

1798 Tate Gallery, London

91561

Buttermere-See mit Teilansicht von Cromackwater

1798(1798) Medium oil on canvas Dimensions 91,5 x 122 cm cyf

24478

Caernarvon Castle,Wales (mk31)

1833-1834 Watercolour 29x44cm

61220

Calais Pier

J.M.W. Turner, Calais Pier

24460

Calais Pier,with French poissards preparing for sea:an English packet arriving (detail) (mk31)

1803 Oil on canvas 172x240cm

24482

Calais sands,low water (mk31)

1830 Oil on canvas 73x107cm

54950

Calmness

mk238 1842 Oil on canvas 87x86.7cm

54974

Canal

mk238 1840 Watercolour 22.1x31.8cm

54979

Canal

mk238 1840 Watercolour 22.1x32.4cm

87210

Canal Grande in Venedig

Date 1835(1835) Medium Oil on canvas Dimensions 90 x 120,3 cm cjr

91974

Canal Grande in Venedig

1835(1835) Medium oil on canvas Dimensions 90 X 120,3 cm cyf

54829

Castle

mk238 1798 Oil on canvas 47x69cm

54832

Castle

mk238 1799 Watercolour 55x77cm

54833

Castle

mk238 1799 watercolour 55.5x76.2cm

54839

Castle

mk238 1803 Oil o ncanvas 103.5x139.7cm

54909

Castle

mk238 1825-1830 Watercolour

54912

Castle

mk238 1829 Watercolour 29.8x42.6cm

87196

Castle von Kilgarran am Twyvey

Date 1799(1799) Medium Oil on canvas Dimensions 92 x 122 cm cjr

91964

Castle von Kilgarran am Twyvey

1799(1799) Medium oil on canvas Dimensions 92 X 122 cm cyf

54929

Cay

mk238 1832 Watercolour 13.9x19.1cm

55207

Centre

mk239 1939 49x31cm

55148

Centre line

mk239 1924 Watercolour 34.6x22.9cm

55020

Centre market

mk239 1908 Oil on canvas 33x41cm

55179

Change green

mk239 1928 49.8x24.7cm

54819

Channel

mk238 1795 Watercolor 30.7x48.3cm

24476

Chichester Canal (mk31)

1828 Oil on canvas 121x90.5cm

61219

Chichester Canal vivid colours may have been influenced by the eruption of Mount Tambora in 1815.

Chichester Canal's vivid colours may have been influenced by the eruption of Mount Tambora in 1815.

54978

Church

mk238 1842 Oil on canvas 61.6x92.7cm

55018

Church

mk239 1908 Oil on canvas 71x96cm

55158

Circle

mk239 1925 Oil on canvas 61.5x41.5cm

55161

Circle

mk239 1926 140x140cm

55206

Circle

mk239 1939 92x72cm

55182

Climb

mk239 1931 Watercolour 48.1x61cm

55181

Close

mk239 1930 Oil on canvas 49.2x36.8cm

55089

cloudburst

mk239 1913 Oil on canvas 111x111cm

54925

Cockpit

mk238 1831 Oil on canvas 91.4x122cm

24481

Cologne,the arrival lf a pachet boat;evening (mk31)

1826 Oil and maybe watercolour on canvas 168.6x224.1cm

31834

Cologne:The arrival of a packet-boat:evening

mk76 Painted in 1826 Oil and possibly watercolor on canvas 66 3/8x88 1/4in

54890

Concert

mk238 1835 Oil on canvas 121x90.6cm

24486

Constance (mk31)

Watercolour 30.4x45.4cm

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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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