|||FREE||| Turner and the Elements

Total Page:16

File Type:pdf, Size:1020Kb

|||FREE||| Turner and the Elements TURNER AND THE ELEMENTS FREE DOWNLOAD Ortrud Westheider,Michael Philipp | 224 pages | 01 Oct 2011 | Hirmer Verlag | 9783777440019 | English | Munich, Germany Turner and the Elements, Turner Contemporary, Margate, review As richly varied as the terrains and cultures experienced, the works vary in size and placement in the gallery causing viewers to approach a low hanging work closely or step back to view a climbing line towards the pitched ceiling. A purely hi Z crystal mic Turner and the Elements probably be a better match to the HT 40 tube rig than the solid state Yaesu. The argument is that he amalgamated the traditional segregation of the elements — earth, air, fire and water — into a fusion of all four; that technically, instead of schematic compositions divided into discernable sections and monocular viewpoints, he painted, so to speak, from the centre out. Turner and the Elements is a visual joy and Turner and the Elements intellectual pleasure. Leave this field blank. The painting might be viewed as an allegory against the exploitation of slaves and other human labour in favour of machines and economic advancement, represented by the coming storm engulfing the cruel captain. Please log in. Read more. Visual Arts Lockdown Special 4: half-way houses Some galleries prepare to reopen, others remain closed; online still offers riches. Sandycombe Lodge The Painter play Mr. Or put a battery in the base of the microphone. What a red rag is to a bull, Turner's "Slave Ship" was to me, before I studied art. Turner: "A Wonderful Range of Mind. Driven by his incendiary, atomised conception Turner and the Elements the world, Turner also abandoned traditional composition. Khadija Saye: In This Space We Breathe, Westbourne Grove review - a celebrated series finds new resonance The artist's most celebrated works launch a new public art project in west London. Turner: The Man and His Art. I Turner and the Elements the Turner and the Elements Allied branded version of a X which I did that to for exactly the same reasons. Turner thus exhibited his painting during the anti- slavery conference, intending for Prince Albertwho was speaking at the event, to see it and be moved to increase British anti-slavery efforts. Rainbows, Venice, the burning Turner and the Elements Rome, thunderclouds, fireworks, and mountains — the Alps now a sublime destination, rather than a wearying obstacle — are but a few of the subjects chosen by this insatiably curious, energetic and prolific artist. For many generations of artists, it had been the function of light to reveal and model form. Lindsay, Jack. Looking even more carefully, one can see fish and sea monsters swimming in the water, possibly preparing to eat the slaves, and sea gulls circling overhead above the chaos. Celia Paul: My Studio, Victoria Miro review - sublime isolation One of the great painters of our time responds to life in lockdown. Crowds gathered at the edge of the Thames, among them the artist JMW Turner, who rented a boat from which to study the conflagration. Rodger WQ9E. Turner's contemporaries would never have seen a painting like this before," he said. Sunrise, with a Boat Between Headlands is Turner and the Elements vision of sunlight suffusing a sea-mist that might almost have been breathed on to the canvas. The idea of the sublime is of the utter powerlessness and terror Turner and the Elements humanity in the face of nature; by dramatising the strength of the waves and sun, Turner uses The Slave Ship to encapsulate, perfectly, Burke's definition of the term. Although Turner would later develop an extensive visual vocabulary that ranged far beyond precise renderings, first-hand observations Turner and the Elements crucial to his working method. To create details, Turner scraped, blotted, and wiped the paint Turner and the Elements it was still wet, and scratched into or drew on dry surfaces. Additional Essays by Elizabeth E. Citation Barker, Elizabeth E. Yet Turner himself clearly regarded them as worthy Turner and the Elements preservation, and scrutiny. Martha Teichner guides us through his life and works: J. New York: Rizzoli, Consider how the British art world first reacted to the paintings of J. Turner first briefly came to Margate as an year- old London schoolboy. We know that's what storms are like, and that's what Turner wanted Turner and the Elements make us understand as the viewer. Objects lost their meaning to him, as he plunged into a visual world formed from unending interactions of light and energy. More information about text Turner and the Elements. In this classic example of a Romantic maritime paintingTurner depicts a ship, visible in the background, sailing through a tumultuous sea of churning water and leaving scattered human forms floating in its wake. Bruce Nauman, Tate Modern review - the human condition writ large in neon How to make great art out of almost nothing. Everything seems to have shifted to lower impedance electret types for the low end market. It seems apt that an exhibition so clearly focused on the more hidden and experimental aspects of his art should have been staged in the town that was, more than any other, his bolt-hole from Turner and the Elements. Ruskin to do it, and it has enabled me to do it, and I am thankful for it. Previous topic Next topic. Cotman made a watercolour copy of the foremost boat, now in a private collection repr. Turner's gallery ; Tate Gallery 21 ; Tate Galleryrepr. Many of them were never exhibited by the artist in his own lifetime, a fact which has led some of his more academic interpreters to consider them as mere studies, rather than works of art in their own right. In the s and s he was a more than regular visitor, staying in a boarding house which was on the very site where Turner Contemporary is now. But Turner, instead of sort of celebrating the technology, he makes it clear that the boat is nothing compared to the power of the sea. Previous Next. The first impression that the painting creates is of an enormous deep-red sunset over a stormy sea, an indication of an approaching typhoon. Not even a snowstorm can stop Joe Jonas from spending quality time with Sophie Turner. Turnerfirst exhibited in Liber Studiorum — Turner Timothy Spall puts some finishing touches onto a painting of Utrecht harbor - a brilliant Turner and the Elements blob of paint - before a disbelieving audience at the Royal Academy in Mike Leigh's film, "Mr. The freeflowing watercolour sketches see gallery belowinterpreted in streaks of fluent, fluid colour, utilise minimal means to make what to modern eyes are utterly convincing scenes from nature. In this way, Turner expands his role as an Turner and the Elements to become a sort of illusionist or entertainer — the purpose is not to simply depict a scene but rather to create a drama and a narrative beyond the ephemeral vignette. Trans and non-binary voters face barriers ahead of election. https://cdn.shopify.com/s/files/1/0498/3249/3255/files/finding-our-way-again-the-return-of-the-ancient-practices-82.pdf https://uploads.strikinglycdn.com/files/b4871999-e6b0-4b7b-b992-f41f898db5c5/the-volatility-machine-emerging-economies-and-the-threat-of- financial-collapse-92.pdf https://uploads.strikinglycdn.com/files/7171b9e6-fa15-4763-872b-f93c20213c88/voyager-tarot-intuition-cards-for-the-21st-century-45.pdf https://uploads.strikinglycdn.com/files/c3287b1b-dc97-4079-ad4d-0f405ac962f5/the-garden-of-evening-mists-25.pdf https://uploads.strikinglycdn.com/files/36485e23-ef41-4efe-a6b6-b987e0155d60/kipper-90.pdf https://uploads.strikinglycdn.com/files/8f40d23a-58e9-4aeb-8f51-e4b38120ce90/seven-strategies-of-assessment-for-learning-23.pdf.
Recommended publications
  • JMW Turner to Appear on the Next £20 Banknote
    Press Office Threadneedle Street London EC2R 8AH T 020 7601 4411 F 020 7601 5460 [email protected] www.bankofengland.co.uk 22 April 2016 J.M.W. Turner to appear on the next £20 banknote Today, Bank of England Governor, Mark Carney, announced that J.M.W. Turner will appear on the next £20 banknote due to be issued by 2020. At the announcement at Turner Contemporary in Margate, the Governor revealed the image of Turner that will be used on the note. The selection of Turner is the first time the Bank of England has used the more open and transparent character selection process announced in December 2013. The process began in early 2015 with the formation of the Banknote Character Advisory Committee which as its first act selected the visual arts field. This was followed by a two month nomination period in summer 2015 during which members of the public could suggest a figure from the visual arts. The Bank received 29,701 nominations covering 590 eligible characters. The Committee, with input from public focus groups, then produced a shortlist which it discussed in detail with the Governor who made the final decision. Commenting on the decision, the Governor said: “I am delighted to announce that J.M.W. Turner has been chosen to appear on the next £20 note. Turner is perhaps the single most influential British artist of all time. His work was transformative, bridging the classical and modern worlds. His influence spanned his lifetime and is still apparent today. Turner bequeathed this painting to the nation, an example of his important contribution to British society.
    [Show full text]
  • COMMUNITIES DIRECTORATE Turner Contemporary ANNUAL
    COMMUNITIES DIRECTORATE Turner Contemporary ANNUAL OPERATING PLAN 2008/09 Director: Amanda Honey Unit Manager: Victoria Pomery SECTION ONE - SERVICE PROFILE PURPOSE OF THE SERVICE Turner Contemporary’s mission is: To celebrate JMW Turner’s association with Margate in order to promote an understanding and enjoyment of historical and contemporary art – an accessible means of expression that enriches everyone’s live. In so doing, it will be a positive force in the social, economic, and cultural regeneration of Thanet and East Kent. Turner Contemporary is a major project that is featured specifically in a number of strategic documents including Vision for Kent: Theme 9: Enjoying Life in Kent and Towards 2010 (target 27). It is also one of the Local Investment Cornerstones in Thanet identified in “What Price Growth” Turner Contemporary is part of the Communities Directorate, and is working with Service Units within the Directorate, such as the Arts Development Unit, and with key strategic partners including Thanet District Council, Arts Council England (ACE) and the South East England Development Agency (SEEDA). It is also working in partnership with other arts providers, including Tate, as well as with schools, Further and Higher Education providers. Education in the broadest sense is critical to Turner Contemporary's ethos and encompasses a wide range of people involved in formal and informal learning environments. At the heart of the project are two major strands - the building of the new gallery itself and a public arts programme of wide ranging exhibitions, talks and events, and out-reach work. This programme is already into its sixth year and a new building will enable significantly increased delivery as well a high profile focus and stimulus for the development of skills and training opportunities and cultural regeneration.
    [Show full text]
  • Experience Options Analysis: Mapping the Experiential Product in Kent September 2020
    Experience Options Analysis: Mapping the Experiential Product in Kent September 2020 Funded by: Delivered by: With support from: SW Consulting Contents Mapping the experience product in Kent 3 Options analysis for West Kent 23-31 Experience Travel Trends for 2020/21 4 - Core Strengths (Fig 1.5) Where is the customer looking? 7 - Opportunities - TripAdvisor 7 Options Analysis : - Airbnb. (Fig 1.1) 8 - Ashford Borough Putting the visitor first 9 - Tunbridge Wells Borough The benefits of experience tourism for Kent (Fig 1.2/1.3) 10 - Maidstone, Tonbridge, Sevenoaks Product options focus: Options analysis for East Kent 11 -22 Options analysis for North Kent 32-40 - Core Strengths (fig 1.4) - Core Strengths (Fig 1.6) - Opportunities - Opportunities Options Analysis : Options Analysis : - Folkestone, Hythe & Romney Marsh - Medway - White Cliffs Country – Dover Deal & Sandwich - Gravesham - Canterbury, Herne Bay & Whitstable - Swale & Dartford - Thanet – Margate, Ramsgate, Broadstairs Partnership working opportunities 41 Appendix 1 Kent Product Snapshot: 42-44 Seasonal Potential/ Strengths, Opportunities & Gap analysis 2 Mapping the experiential product in Kent Context Over the past 10 years, travellers have increasingly sought out ‘more’ from their leisure time, continually hunting for that truly local and authentic experience that separates them from the tourism hordes. Whether this is the secluded beach that no one else seems to have discovered or the best family run restaurant in the district, visitors gain an immense sense of personal achievement to have found ‘the best, authentic, most unique, secret, unusual and downright bizarre’; and when they take to social media this experience becomes an almost ‘badge of honour’, that all who follow will want to obtain.
    [Show full text]
  • Plus Tate: Connecting Art to People and Places Plus Tate: Connectingtable of Contents Art to People and Places Contents
    PLUS TATE: CONNECTING ART TO PEOPLE AND PLACES PLUS TATE: CONNECTINGTABLE OF CONTENTS ART TO PEOPLE AND PLACES CONTENTS TABLE5 INTRODUCTION OF CONTENTS 10 PLUS TATE ACROSS THE UK 12 ARNOLFINI 16 BALTIC CENTRE FOR CONTEMPORARY ART 20 CORNERHOUSE / HOME Front cover: Kenneth Martin Chance and Order VI (detail) screenprint on paper 1976 Tate 24 FIRSTSITE © The estate of Kenneth Martin 28 GLYNN VIVIAN ART GALLERY First published in 2015 by order of the Tate Trustees by 32 GRIZEDALE ARTS Tate Publishing, a division of Tate Enterprises Ltd, Millbank, SW1P 4RG www.tate.org.uk/publishing 36 THE HEPWORTH WAKEFIELD © Tate 2015 40 IKON 44 KETTLE’S YARD All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, 48 MIMA including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers or a licence from the Copyright Licensing 52 MOSTYN Agency Ltd, www.cla.co.uk 56 NEWLYN ART GALLERY & THE EXCHANGE Designed by Tate Design Studio 2015 60 NOTTINGHAM CONTEMPORARY Partner profiles written by Becky Schutt Coordinated by Amanda King 64 THE PIER ARTS CENTRE Printed by Westerham Press Ltd, UK 68 TATE Printed on paper certified by the Forest Stewardship Council 74 TOWNER ACKNOWLEDGEMENTS 78 TURNER CONTEMPORARY In making this publication, Tate is grateful to the many contributors from 82 WHITWORTH ART GALLERY the Plus Tate network for their readiness to participate and share
    [Show full text]
  • Notes by John Ruskin on His Drawings by J.M.W. Turner, R.A., Exhibited At
    7b 85-B 7514 IS BY JOHN RUSKIN UiN HIS WATER-COLOURS BY J. M. W. TURNER, R.A. EXHIBITED AT The Fine Art Society's Qalleries, Street 148, ${ew 'Bond , 1878 & 1900. Price One Shilling. The Notes can also be purchased of George Allen, Charing Cross Rd. Dai1U)SkS. Designed by CRANE, DAY, ANNING BELL, &c. CUrt<)in$. By WILSON, &c. Exceedingly Smart. PROFUSELY ILLUSTRATED CATALOGUE FREE. American Orders sent to New York Agent. Freight and Duty Paid. Permanent Photographs OF THE WORKS OF Sir Edward Burne- Harry Bates, A. R.A. Jones, Bart. Homer and others. Hague Gallery, a selection G. F. Watts, R.A. from, by F. Hollyer, Jun. Albert Moore and Gabriel Rossetti. Dante Other artists. HOLBEIN, Drawings at Windsor Portraits From Life. Castle, by kind permission of Studio is arranged for Sittings Her Majesty The Queen. on Mondays onl} CAN BE OBTAINED OF FREDK. HOLLYER, 9 Pembroke Sq., Kensington, 0pen fpom 10 a,m t0 6 p,m daily and on Monday irvif^^ * ' ' 3 I U LMVJO Evenings from 7 to 10 p.m.. FREE. ILLUSTRATED CATALOGUE, POST FREE, 12 STAMPS. PORTRAIT OF OH N RUSKIN, BY Professor HERKOMER, R.A. Remark Proofs ' ^ ' £880. Artist's Proofs * - * £660. Of which very few remain. THE FINE ART SOCIETY, 148, New Bond Street. LINE ENGRAVINGS AFTER J. M. W. TURNER. The Fine Art Society invite an in- spection of the Proofs in rare states of the Line Engravings after J. M. W. Turner, which are on view (for sale) at the entrance to their Galleries. Subscription Portraits.
    [Show full text]
  • Tate Britain
    Tate Britain The Paintings of J.M.W. Turner 15:00-15:45 Laurence Shafe 1 The Paintings of J.M.W. Turner The Paintings of J.M.W. Turner.......................................................................................................................... 2 Joseph Mallord William Turner (1775-1851) in the Clore Gallery ..................................................................... 5 ‘Self-Portrait’, c. 1799 ........................................................................................................................................ 6 ‘England: Richmond Hill, on the Prince Regent’s Birthday’, exhibited 1819 ..................................................... 9 ‘Snow Storm: Hannibal and his Men crossing the Alps’, exhibited 1812 ........................................................ 12 ‘The Decline of the Carthaginian Empire’, exhibited 1817 .............................................................................. 15 ‘The Angel Standing in the Sun’, exhibited 1846 ............................................................................................. 18 ‘Crossing the Brook’, exhibited 1815 ............................................................................................................... 21 ‘Ploughing up Turnips near Slough’, exhibited 1809 ....................................................................................... 24 ‘The Sun of Venice Going to Sea’, exhibited 1843 ........................................................................................... 29 ‘Norham Castle, Sunrise’,
    [Show full text]
  • Tate Report 09–10 Contents
    Tate Report 09–10 Tate Tate Report 09–10 Contents / Introduction 02 Art and Ideas / Collection Acquisitions 10 Collection care 12 Research 15 Acquisition highlights 17 Art and Ideas / Programme Tate Britain 31 Tate Modern 32 Tate Liverpool 35 Tate St Ives 36 Calendar 38 Audiences / Learning Families and young people 40 Adult programmes and live events 42 Audiences / Beyond Tate Online and media 45 Tate National 46 Tate International 48 Improving Tate Staff and sustainability 50 Funding and trading 52 Future Developments 54 Financial Review 56 Donations, Gifts, Legacies and This report is also available to download Sponsorships 58 in PDF and large-print versions – visit www.tate.org.uk/tatereport Featured art and artists 64 Introduction We are committed to enriching people’s lives International Art. The acquisition of a large through their encounter with art. And so, this group of work by Keith Arnatt, a film by David year Tate again reached out across the country Lamelas, and a significant photographic and to the world beyond – through our galleries, collection, generously given to Tate through partnerships and online – to invite people to the Acceptance in Lieu scheme by the late look again at the familiar, and to think about Barbara Lloyd, are examples of ways in which the new experiences offered by the art of our our representation of this important area of own time. art practice is being strengthened. Broadening global and artistic perspectives / Other notable works entering the Collection Our environment is characterised by rapid this year included a performance by Tania technological, social and economic change.
    [Show full text]
  • Mark Carney: £20 Note Character Selection Announcement
    Mark Carney: £20 note character selection announcement Speech by Mr Mark Carney, Governor of the Bank of England and Chairman of the Financial Stability Board, Turner Contemporary Gallery, Margate, 22 April 2016. * * * Though I’m surrounded by sublime art and architecture, typically for a Governor of the Bank of England, I want to begin by talking about money. Throughout history money has come in many forms – gold and silver coins; English “tally sticks” made of willow; even stone disks of up to twelve feet in diameter, pocket change on the Pacific island of Yap. It’s true; a Yap stone makes up part of the reserves of the Bank of Canada. Such variety has meant economists have struggled to define money. The Nobel Prize- winning economist, John Hicks, simply wrote “money is what money does.”1 Wisdom or sophistry? There’s a bit of Popeye or Forrest Gump in that.2 But what does money do? To some, banknotes are mere “barren tokens.”3 These meagre pieces of paper – soon to be polymer – of no intrinsic value, actually serve vital economic functions. They facilitate trade. They store value. They serve as a unit of account. As the soon-to-be replaced incumbent of our £20 note, Adam Smith, wrote, they are the “universal instrument of commerce.”4 Most fundamentally, Money is Memory.5 Money supplants the need to keep track of promises to exchange goods and services across time; it is a simple, universal replacement for detailed record keeping. Money is memory in another sense. It bridges time. The money we spend today could have been earned from past accomplishments or could be borrowed from future ones.
    [Show full text]
  • Notes by Mr. Ruskin
    m 8 3 tot 4to' ?J^J ^mrrr 1 .xS^" me^. NOTES BY MR. RUSKIN Part I. ON HIS DRAWINGS BY THE LATE J. M. W. TURNER, R.A. Part II. ON HIS OWN HANDIWORK ILLUSTRATIVE OF TURNER. niE ABOVE BEING EXHIBITED AT The Fine Art Society's Galleries, 148, New Bond Street. 1878. 9/// Thousand. Revised Edition. Price One Shilling. NOTES BY MR. RUSKIN. Part I. ON HIS DRAWINGS BY THE LATE J. M. W. TURNER. R.A. Part II. ON HIS OWN HANDIWORK ILLUSTRATIVE OF TURNER. THE ABOVE BEING EXHIBITED AT The Fine Art Society's Galleries, 148, New Bond Street. 1878. CHISWICK PRESS : —PRINTED BY CHARLES WHITTINGHAM, TOOKS COURT, CHANCERY LANE. NC:i.'t3^ /i7t CONTENTS. PART I. PAGE NTRODUCTION 5 Prefatory Note 11 I DRAWINGS. First Group. School Days, 1775-1800 . 13 Second Group. The Rock Foundations, Switzerland, 1800- 1810 17 Third Group. Dreamland, Italy, 18 10- 1820. 23 Fourth Group. Reality. England at Rest 28 Fifth Group. Reahty. England Disquieted 32 Sixth Group. Meditation. England Passing Away 39 Seventh Group. Minstrelsy. The Passionate Pilgrim 44 Eighth Group. Morning. By the Riversides 47 Ninth Group. Again the Alps .... 50 Tenth Group. Sunset 52 ILLUSTRATIVE STUDIES AND SUPPLEMENTARY SKETCHES 58 ADDENDA. Further Illustrative Studies 68 EPILOGUE 71 147 IV CONTENTS. PART II. Preface 79 Notes on my own Drawings and Engravings . 85 Notes respecting future Uses of Engravings . 137 APPENDIX. Notes by the Rev. W. Kingsley on the Turner Drawings 141 — INTRODUCTION. E following main facts respecting the tenour THof Turner's life and work may be depended upon, and should be kept in mind, as they are evidenced by, or illustrate, the pieces of his art here shown.
    [Show full text]
  • Turner Contemporary: Art Inspiring Change
    Turner Contemporary: Art Inspiring Change Social Value Report (15/16) October 2016 Art Inspiring Change: Turner Contemporary Social Value Report (15/16) Report authors: Dr Andrew Jackson, Dr Amy Nettley, Joanna Muzyka and Tim Dee COaST Research and Knowledge Exchange Group Christ Church Business School North Holmes Road Canterbury CT1 1QU +44 (0)1227 767700 SROI consultant and member of the Social Value UK Advisory Board: Mandy Barnett MB Associates 3 Sedbergh Road Kendal LA9 6AD +44 (0)1539 731889 ISBN: 978-0-9552363-8-9 2 Art Inspiring Change: Turner Contemporary Social Value Report (15/16) Contents Foreword ................................................................................................................... 4 Executive summary ................................................................................................... 5 1. Introduction .................................................................................................... 12 2. The gallery ...................................................................................................... 15 3. The context ..................................................................................................... 17 4. Scope and stakeholders .................................................................................. 20 5. Who is affected by the gallery – the stakeholders ......................................... 25 6. Developing a story of change ......................................................................... 27 7. Visitors to the gallery
    [Show full text]
  • Whitechapel Gallery Art Icon 2021
    Whitechapel Gallery Art Icon 2021 Yinka Shonibare CBE RA Foreword By Nadja Swarovski The Swarovski Foundation is delighted to join the Whitechapel Gallery in honouring Yinka Shonibare with the 2021 Art Icon Award. Shonibare’s work is exuberant, bold and strikingly beautiful and his subject matter is wide ranging and international. But while the artist’s tableaux explore issues such as race, colonialism and identity, they are never po-faced. Instead they are riotously colourful and often wickedly funny. His theatrical body of work encompasses sculpture, painting, photography, film, tapestries and public works – and regardless of medium, his art exerts an emotional punch. The common thread in Shonibare’s powerful visual storytelling is his desire to challenge assumptions and stereotypes, and this impulse is reflected in his philanthropic programmes. As founder of the Yinka Shonibare Foundation, he has sought to promote artistic and cultural exchange between Africa and the rest of the world, and his pioneering Guest Projects initiative in East London has offered free studio space to emerging and established artists of every stripe for many years. We commend Shonibare for his generosity of spirit and his dedication to supporting younger generations of artists, a mission that the Swarovski Foundation shares in its commitment to nurturing creative talent through scholarships at leading design schools and its partnerships with cultural institutions such as the Whitechapel Gallery. Our warmest congratulations go to Yinka Shonibare, a brilliant and inspiring Art Icon for our times and a humanitarian who believes in the power of art to transform people’s lives. His artistic and philanthropic legacy will endure for years to come.
    [Show full text]
  • Turner Twenty Pound Note
    Date 10.10.2019 Turner’s House celebrates unveiling of the new £20 The new £20 featuring J.M.W. Turner and his work was unveiled today by The Bank of England, to which Turner’s House Trust has responded by planning a series of events in 2020 to celebrate. It was announced this morning that the new note, which will be printed on polymer, will be issued on 20 February 2020. The design will feature: o J.M.W. Turner’s self-portrait, painted c. 1799 and currently on display in Tate Britain. o Turner’s painting The Fighting Temeraire; a tribute to the ship HMS Temeraire which played a decisive role in Nelson’s victory at the Battle of Trafalgar in 1805. In 2005, it was voted Britain’s greatest painting in a BBC poll. o The quote - “Light is therefore colour” from an 1818 lecture by Turner referring to his innovative use of light, shade, colour and tone in his pictures. o Turner’s signature from his Will, the document with which he bequeathed many of his paintings to the nation. The Bank’s Governor, Mark Carney, said, “Our banknotes celebrate the UK’s heritage, salute its culture, and testify to the achievements of its most notable individuals. And so, it is with the new £20 banknote, featuring JMW Turner, launched today at Turner Contemporary in Margate. Turner’s contribution to art extends well beyond his favourite stretch of shoreline. Turner’s painting was transformative, his influence spanned lifetimes, and his legacy endures today. The new £20 note celebrates Turner, his art and his legacy in all their radiant, colourful, evocative glory.” Turner designed his house in Twickenham, his only 3D artwork, and enjoyed it as his rural retreat at the time he made the famous quote about light.
    [Show full text]