from turner to hirst.pptx

7/27/2019 From Turner to Hirst.pptx

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From Turner to Hirst

Two Great British Artists


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Joseph Mallord William Turner(23 April 1775 19 December 1851)

English Romantic landscape painter,watercolorist and printmaker.

greatly influenced thedevelopment of British landscapepainting.

painted in oil and water colours.

mainly landscapes and seascapes.


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Biography

Turner. Interior of Tintern Abbey, Monmouthshire,c. 1794. Pencil and watercolour

at first exhibitedtopographicalwatercolours.


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Biography

travelled to France, Italy, Germany, Switzerland.

Turner. Lake Lucerne: the Bay of Uri from above Brunnen, 1842


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Biography

died in 1851.

Turner: Der Lauerzer See mit dem Mythen, c. 1848. Watercolour and Indian ink


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Borrowings

from topographical 'tinted drawing

Turner. Glacier and Source of theArveiron, Going up the Mer de Glace,

Chamonix. 1802-03. 69x102cm.

Dr. Thomas Munro. DurnhamCathedral.1799.42x54cm.


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Borrowings

from Joseph Wright of Derby and Richard Wilson.

JMW TurnerFishermen at Sea. 1796. oil

on canvas.

J.Wright of Derby. Vesuviusfrom Posllipo. oil on canvas.

1788


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Borrowings

from the accepted Old Masters: van der Veldes, Claude,Poussin.

Nicolas Poussin. Landscape with aCastle. 1651. Oil on canvas.

Turner.Dido building Carthage; orthe Rise of the CarthaginianEmpire 1815. Oil on canvas


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Themes

Seascapes (storms, ships, etc)

Turner: "Calais Pier: anEnglish packet boat arriving ",

1803.

Turner. The Fighting "Temeraire"tugged to her last berth to be

broken up1838; Oil on canvas


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Themes

Narrative pictures

Turner. Ulysses deridingPolyphemus - Homer's

Odyssey1829; Oil on canvas

Turner. The Battle ofTrafalgar. Oil on

canvas,.18221824


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Themes

The power of nature

Turner. Eruption of Vesuvius. 1817. Oil on canvas.


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Themes

English landscape

Turner. The Burning of the Houses of Parliament.1834

Turner. Rain, Steam and Speed -The Great Western Railway: 1844


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Themes

European (Italian, French etc) landscape

Turner. The Grand Canal, Venice. 1835. Oil on canvas.


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Methods of painting. Watercolours.

EARLY WATERCOLOURS LATE WATERCOLOURS

Drafted in detailed pencildrawing.

Often used a ruler.

Turner. The West Front of the Abbey Bath.1796

Soft edges Less detailed Highlights in gouache

Turner. Lungernsee.1848


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Methods of painting. Oil.

thinned oil colour on a white canvas

tempera in the under-painting

Simultaneous contrast

Turner. Shipping at the Mouth ofthe Thames .1806-7.Oil on canvas


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Colours and Forms

used colour andline economically.

represented theharmonies ofcontrasting colour.

Turner. The Mew Stone at the Entrance ofPlymouth Sound. c. 1814. Watercolour on

paper.


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Colours and Forms

After a trip to Italy:

purer and moreprismatic colour

paid increasingattention to lightand color

Turner. Regulus. 1828-1837. Oil on canvas.


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Colour and Form

Turner is often compared to Impressionists.

Turner. Lake Lucerne: the Bay ofUri from above Brunnen, 1842

Claude Monet . Impression, soleil levant .1872/1873.


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Colour scheme

with warm yellows and browns and limpid green or blue.

expressed darkness using colour.

interplay between dark and light, warm and cold masses.

Turner. Sunrise with a boat between Headlands.1835

Turner. Ancient Rome; AgrippinaLanding with the Ashes of

Germanicus. 1839. Oil on canvas.


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J.M.W.Turner. Scarlet Sunset .1830/1840.Watercolours, gouache


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his love of the sea


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waves and storms, upon clouds andvapour

a thorough knowledge of wave forms

a ship is perceived as a living creature


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The Shipwreck


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a liking to natural phenomena

a period of great English shipping

make trade possible

portraying the power of the elements and howno one is safe from the dangers of an angrysea


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William Falconer

(shipwreck survivor ofthe Britannia)


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Innovation Turner was considered a controversial figure in his

day. Nowadays he is regarded as the artist who elevated

landscape painting to an eminence rivalling history

painting. In investigations of light and color Turner anticipated

the practice of the impressionists.


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The Fighting Temeraire Tugged In Her Last Berth

To Be Broken Up


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The Ship And Its Story

a 98- gun second-rate ship of the royalNavy

badly damaged atTrafalgar

was broken up in1838

The Battle of Trafalgar, as seen from themizzen starboard shrouds of the Victory

J. M. W. Turner (oil on canvas, 1806 to 1808)


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Composition & Symbols

a contrast between anold ship and a tugboat

a triangle of mastedships on thebackground

a sunset above theestuary

the moon castingsilvery beam


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Colour Scheme

a contrast of softedcolours and dirtier tones

a triangle of blue sky

a dirty spot of a tugboat the blue colour of a

horizon line

the blood colour of

clouds


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Method of Painting

paint laid onthickly to rendersunrays

meticulouslypainted shiprigging


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In his later years he used oils ever more transparently, and turned to anevocation of almost pure light by the 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.


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Rain, Steam and Speed 1844 The GreatWestern Railway

Rain blendsinto thesteam of theonrushing

train inTurner'sRomanticvision of themodernworld atMaidenheadrailwaybridge


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All that is solid melts into air in thisRomantic vision of the modern world. Rainblends into the steam of the onrushing

train, as the river Thames glows beneath abrick bridge at Maidenhead. People likeangels can be made out in the haze. Thesky is a pall of doom. The black engine of

the locomotive is the one hard, sharp thingin this painting. It comes on like a violentiron fist pushing nature aside.


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The Slave Ship"(formally "Slavers Throwing overboard the Dead and

DyingTyphoon coming on)


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DAMINHIR$T
http://www.youtube.com/watch?v=ALUjwIASN0Y


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The Broken Drea

The Physical Impossibility of Death
http://www.youtube.com/watch?v=ALUjwIASN0Y


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The Physical Impossibility of Deathin the Mind of Someone Living,

1991

A f h Fl k (Di id d) 19


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Away from the Flock (Divided), 1996

This Little Piggy Went to Market


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This Little Piggy Went to Market,This Little Piggy Stayed Home, 19

96


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In His Infinite Wisdom, 2003


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The Promise of Money, 2003


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God Knows Why, 2005


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The Tranquility of Solitude, 2006

A d th L d M d Th All 200


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And the Lord Made Them All, 2006


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St. Sebastian, Exquisite Pain, 2007


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Black Sheep, 2007


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Mother and Child (Divided), 2007


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Loves a Paradox (Surrender Autonomy, Separateness as a Precondition for Connection), 2007


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Death Explained, 2007


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Death Denied, 2008


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The Kingdom, 2008


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The Dream, 2008


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The Incredible Journey, 2008

Theology Philosophy Medicine Ju


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Theology, Philosophy, Medicine, Justice, 2008


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False Idol, 2008

The Black Sheep with Golden


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The Black Sheep with GoldenHorns (Divided), 2009


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End of an Era, 2009


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The Crow, 2009


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Cock and Bull, 2012


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+


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The people's pastoral: John Constable's TheC fi ld


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Cornfield

Constable'sdown-to-earth

vision of theEast Angliancountryside,painted in 1826,depictsshepherds and

farmworkers ina painting thatisheartstoppinglybeautiful


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This a painting of heartstopping beauty.Constable here creates a pastoral vision ofArcadian peace that is different from mostsuch paintings in two ways. For one thing

the landscape is unmistakably British. Hereis no mythic land of satyrs and nymphs buta down-to-earth lane in the East Angliancountryside. For another thing the peoplein this landscape are not legendary beingsor picnicking aristocrats but shepherds andfarmworkers. Here is a peoples pastoral.

Menacing machine: Jacob Epstein's


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Torso in Metal from the Rock Drill

The 20thcentury is anage of steel and

warfare inEpstein'sterrifying visionfrom 1913-14,which can beseen atTate

Britain
http://www.tate.org.uk/art/artworks/epstein-torso-in-metal-from-the-rock-drill-t00340http://www.tate.org.uk/art/artworks/epstein-torso-in-metal-from-the-rock-drill-t00340http://www.tate.org.uk/art/artworks/epstein-torso-in-metal-from-the-rock-drill-t00340http://www.tate.org.uk/art/artworks/epstein-torso-in-metal-from-the-rock-drill-t00340http://www.tate.org.uk/art/artworks/epstein-torso-in-metal-from-the-rock-drill-t00340


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A science-fiction monster turns its longmetal snout sideways as it scans thewreckage of some endless robot war. The20th century is an age of steel and warfare

in Epsteins terrifying vision. This is one ofthe few British works that belong in thepantheon of the greatest modern art. Itanticipates the dehumanising logic oftrench combat that was about to massacrethe youth of Europe in the first world war,and still resonates as an image oftechnology come to life.

Monstrous war: Francis Bacon's Three Studies for


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Figures at the Base of a Crucifixion

In Bacon's delightfully disturbing triptych, a Europe of deathcamps has become a breeding ground for nauseating monsters


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No artist anywhere during the secondworld war revealed its destruction of livesand meanings as ruthlessly as Francis Bacondoes here. A Europe of death camps hasbecome a breeding ground for nauseatingmonsters in this brutal requiem for art andgod. Bacons three creatures, grey-fleshed,unpleasantly phallic, are set in an airlesstheatre of reddish light. This is a seriouslydisturbing, horribly great work of art.

... Sarah Lucas's Self-Portrait with Fried EggsThe former Young British Artist's imagination and dark humour


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The former Young British Artist s imagination and dark humourtransform the mundane into the suggestive and the suggestive into

art.


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As the Young British Artists who becamefamous in the 1990s settle into middle age,it is becoming clearer whose art will last.Lucas is a brilliant sculptor. Her imaginationand dark humour transform the mundaneinto the suggestive and the suggestive intoart. This Self-Portrait is a subtle joke(honest). Who is she? How is anyoneportrayed here? Does anyone see beyondthe fried eggs?

Portrait of the artist: Lucian Freud's Frank Auerbach


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Portrait of the artist: Lucian Freud s Frank Auerbach


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The genius of Lucian Freud shone out at the endof the 20th century. Freud exemplifies the factthat British artists have often found their mostoriginal insights in the most eccentric places. Ata time when the avant garde ruled, he paintedin the tradition of Constable and Gainsborough but where in other artists this might be arecipe for irrelevance, in Freud it released thedeepest, most intense painting of recent times.Here he portrays another remarkable Britishpainter, Frank Auerbach, in a moving, arrestingimage of thought


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Michael Craig-Martin: An Oak TreConceptual Art:


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Could you describe this work?Q:

A: What I've done is change a glassof water into a full-grown oak tree.


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Do you mean that the glass of water

is a symbol of an oak tree?

Q:

A:No. It's not a symbol. I've changedthe physical substance of the glassof water into that of an oak tree.


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Haven't you simply called this glass

of water an oak tree?

Q:

A:Absolutely not. It is not a glass

of water anymore. I havechanged its actual substance.


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Was it difficult to effect the change?Q:

A:No effort at all. But it took meyears of work before I realized

I could do it.


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When did the glass of water

become an oak tree?

Q:

A: When I put the water in theglass.

It seems to me that you are claiming


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Q:

A: I'm flattered that you think so.

It seems to me that you are claimingto have worked a miracle.

Isn't that the case?

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