Las óleos de todo Joseph Mallord William Turner

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55063

Construct of number four

mk239 1911 Oil on canvas 159.5x250.5cm

55139

Constructure number 8

mk239 140x201cm

55190

Continue

mk239 1935 oil on canvas 81x100cm

55178

Control

mk239 1929 oil on canvas 35x49cm

55067

Cover

mk239 1911 Watercolour 27.7x21.9cm

55068

Cover

mk239 1911 Watercolour 27.9x21.9cm

55166

Cover

mk239 28x21.5cm

55043

Cow

mk239 1910 Oil on canvas 95.5x105cm

68562

Crossing the Brook

Crossing the Brook by J. M. W. Turner, 1815, oil on canvas, 193 ?? 165 cm. Currently housed in the Tate Gallery.

24468

Crossing the brook (mk31)

1815 Oil on canvas 193x165cm

73150

Crossing the Brook by

1815, oil on canvas, 193 X 165 cm. cyf

71868

Crossing the Brook by J. M. W. Turner

Crossing the Brook by J. M. W. Turner, 1815, oil on canvas, 193 x 165 cm. Currently housed in the Tate Gallery.

91524

Cumberland

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

89349

Das Forum Romanum, fur Mr. Soanes Museum

1826(1826) Medium oil on canvas Dimensions 145,5 x 237,5 cm cjr

89158

Death on a pale horse

c. 1825(1825) Medium oil on canvas Dimensions Height: 597 cm (235 in). Width: 756 cm (297.6 in). cjr

75047

Deluge

English: The Deluge, oil painting in the Tate Gallery, London Date 1805 cyf

54869

Dentist

mk238 1808 Oil on canvas

55185

Depression

mk239 1933 Watercolour 47.3x66.8cm

87917

Der Genfer See von Montreux aus gesehen

Date 1810(1810) Medium Oil on canvas Dimensions 105,4 x 165 cm cjr

89753

Der Park Petworth: Im Hintergrund die Kirche von Tillington

c. 1830(1830) Medium Oil on canvas Dimensions 63,5 x 139 cm cjr

31835

Details of Mortlake terrace:early summer morning

mk76 Painted in 1826 Oil on canvas 36 5/8x48 1/2in

3219

Dido Building Carthage

1815 National Gallery, London

78967

Dido Building Carthage aka The Rise of the Carthaginian Empire

Dido Building Carthage aka The Rise of the Carthaginian Empire (painting - oil on canvas) Date 1815(1815) cjr

40655

Dido Building Carthage or the rise of the Carthaginian Empire

mk156 1815 Oil on canvas 155.5x23.2cm

89757

Die Chain-Pier von Brighton

c. 1828(1828) Medium oil on canvas Dimensions 71 x 136,5 cm cjr

87200

Die funfte Plage von agypten

Date 1800(1800) Medium Oil on canvas Dimensions 124 x 183 cm cjr

91970

Die funfte Plage von Agypten

1800(1800) Medium oil on canvas Dimensions 124 X 183 cm cyf

87920

Die Schlacht bei Trafalgar, von den Steuerbordbesanwanten der Victory aus gesehen

Date 1806-1808 Medium Oil on canvas Dimensions Deutsch: 172,7 x 238,8 cm cjr

66583

Die Teufelsbrocke St. Gotthard

c. 1803-1804 76,8 x 62,8 cm

54844

Disaster

mk238 1805 Oil on canvas 172x241cm

87860

Dogana und Santa Maria della Salute, Venedig

Date 1843(1843) Medium Oil on canvas Dimensions Deutsch: 91,4 x 122 cm cjr

3211

Dolbadern Castle

1799 Tate Gallery, London

55034

Draw

mk239 1909 Oil on canvas 175.2x144.7cm

55099

Draw

mk239 1915 Watercolour 15.7x23.6cm

55188

Draw

mk239 1932 Oil painting 49x70cm

55071

Draw of Circle

mk239 1911

55097

Drea

mk239 1914 Oil on canvas 120x111cm

55091

Dreaw with white line

mk239 1913 25.8x34.5cm

52518

Dutch Boats in a Gale

1801 Oil on canvas, 163 x 221 cm

89868

Ein gestrandetes Schiff

c. 1828(1828) Medium Oil on canvas Dimensions 70 x 136 cm cjr

56676

eldsvada till havs

mk248 turenr avgudade bavet ocb malade vid alla vaderlekar. skeppet som star i centrum for danna katastrof ar orontes. hon gick inte under i nagon strm utan sedan ett stearinljus bytt antant en bog med balm. turner later later roken ocb lagorna virvla runt med bavet ocb bimlen till en enda valdig virvelstrom. massan av bimmelska vasen, tills betraktaren med en rysing inser att detta ar de olyckiga passagerarna som forlorar kampen mot de bada forbarskande elementen eld ocb vatten.

55175

Enter the dark

mk239 1928 48x31.8cm

55109

Exercise

mk239 1916 Watercolour 23x29cm

55080

Expression

mk239 1911 14.5x21.7cm

54976

Factory

mk238 1840 Watercolour 24.3x30.8cm

55078

Fairyland

mk239 1911-1912 Watercolour 30.1x20.5cm

24495

Festive Lagoon scene,Venice (mk310

Oil on canvas 91x121cm

55203

Fifteen

mk239 1938 34.5x50cm

54835

Fifth tragedy of Egypt

mk238 1800 125x183cm

76766

Fighting Temeraire

Date 1838(1838) Medium Oil on canvas Dimensions 91 ?? 122 cm (35.83 ?? 48.03 in) cyf

54937

Fire

mk238 1834 Watercolour 23.4x32.7cm

73321

Fire at Sea

oil on canvas, by the British artist J. M. W. Turner. 171.5 cm x 220.5 cm (67.52 in. x 86.81 in.). cyf

89765

Fire on the Sea

c. 1834(1834) Medium oil on canvas Dimensions 171,5 x 220 cm cjr

55038

First draft

mk239 1910 Oil on canvas 71x71cm

55040

First draft

mk239 1910 32.9x32.9cm

55064

First draft

mk239 1911 Oil on canvas 94.5x139cm

55093

First draft

mk239 1913 Watercolour 27.6x38.1cm

55100

First draft

mk239 1913 Watercolour 23.8x24cm

55121

First draft

mk239 1919 Watercolour 24x19cm

55132

First draft

mk239 1923 36.8x36cm

88015

Fischen am Blythe-sand, die Flut setzt ein

1809(1809) Medium Oil on canvas Dimensions 89 x 119,5 cm cjr

54831

Fisher

mk238 1796 Oil on canvas 91.4x122.2cm

54837

Fisher

mk238 1802 Oil on canvas 91.4x122cm

89325

Fishermen at Sea

1796(1796) Medium oil on canvas cyf

3210

Fishermen at Sea (The Cholmeley Sea Piece)

1796 Tate Gallery, London

24457

Fishermen at sea (mk31)

1796 Oil on canvas 91.5x122.4cm The Tate Gallery,London

24458

Fishermen at sea (mk31)

1796 Oil on canvas 91.5x122.4cm

90424

Fishermen Cleaning and Selling Fish

1807(1807) Medium oil on canvas Dimensions 134,5 x 179 cm cyf

31831

Fishing boats entering calais harbor

mk76 Painted c.1803 Oil on canvas 29x38 3/4in

38145

Fishing Boats Entering Calais Harbor

mk29 c.1803 Oil on canvas 73.7x98.4cm

82566

Fishing Boats with Hucksters Bargaining for Fish

Fishing Boats with Hucksters Bargaining for Fish (1837-1838) by JMW Turner, Oil on canvas, 174.5 x 224.9 cm, Art Institute of Chicago Date 1837-1838 cjr

24467

Fishing upon Blythe-sand,tide setting in (mk31)

1809 Oil on canvas 89x119.5cm

24459

Fishmarket on thte beach (mk31)

1802-1804 Oil on canvas 43.2x58.4cm

54953

Flammulated sky

mk238 1840-1845 30.5x48cm

54838

Flood

mk238 1805 Oil on canvas 143x235cm

55095

Flood

mk239 1914 Oil on canvas 108.5x140cm

55145

Fly

mk239 1924 Watercolour 30x40cm

54849

Forest

mk238 1805 Watercolour 25.7x36.8cm

55032

Forthright

mk239 1909 Oil on canvas 32.9x44.6cm

54913

Fountain

mk238 1822 Watercolour 18.4x14cm

54876

Freezing Morning

mk238 1813 Oil on canvas 113.x6174.6cm

62552

Frosty Morning

1813 Oil on canvas, 114 x 175 cm Tate Gallery, London This Yorkshire scene has an air of numbing chill, with rime glistening on earth and wild plants. Turner's English subjects still looked to the Dutch painter Aelbert Cuyp (1620-1691), but he was demonstrating his own contribution to this tradition and the benefits of study direct from nature. Author: TURNER, Joseph Mallord William Title: Frosty Morning Form: painting , 1801-1850 , English , landscape

54936

Gate

mk238 1832 14.2x19.1cm

55163

Gaze

mk239 1926 Oil on canvas 111x105cm

55049

Gentlewoman

mk239 1910 Oil on canvas 110x109cm

54921

Georgian

mk238 1822 Oil on board 68.5x91.8cm

42759

Glacier and source of the Avyron, Chamonix

MK169 1802-03 water Color on paper 68.5x101.5cm

77672

Glaucus and Scylla

'??Glaucus and Scylla??', 1841, oil on panel painting by Joseph Mallord William Turner, Kimbell Art Museum. cjr

80943

Glaucus and Scylla

1841, oil on panel painting by Joseph Mallord William Turner, Kimbell Art Museum Date 1841(1841) cyf

24465

Grand Junction Canal at Southall Mill Windmill and Lock (mk31)

1810 Oil on canvas 92x122cm

55115

Gray

mk239 1917 Oil on canvas 25.4x28.5cm

55128

Gray

mk239 1922 Watercolour 46.7x42.5cm

55149

Gray

mk239 1924 48.9x33.8cm

55197

Group

mk239 1938 116x89cm

54931

Hafulier

mk238 1832 Watercolour 13.8x18.7cm

54894

Hall

mk238 1827 Watercolour 13.4x19.1cm

55152

Happy construct

mk239 1924 Watercolour 35x23cm

55137

Happy rise

mk239 1923 23.8x19.3cm

55211

Harmonic

mk239 1942 114x146cm

24469

Hastings:Deep-sea fishing (mk31)

1818 Watercolour 39.8x59.1cm

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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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