Turner & English Landscape Painting

Joseph TurnerÆs father recognized his sonÆs artistic abilities at an early age, often exhibiting his drawings in his shop window. Turner enrolled in the Royal Academy of Arts as a young teen and immediately began a career as an illustrator after three years there. His seascapes often demonstrate the elements of the romantic period in English landscapes but also a unique perspective on nature. TurnerÆs view of nature is often one of awe and insignificance with respect to the relationship between human beings and nature. In Fishing, we see this view of nature as a group of fishermen battle to keep afloat during rough seas. The men, trying to earn a living, are pitted aga

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efine image in a way that enables emotion and subject to come across without concrete shapes and lines. His works tended to become more abstract over time through TurnerÆs efforts to portray all of the emotions of nature through light, space and the basic forces of nature. As Tansey (et al.) explains, this innovation would help pave the way for future art styles and movements, ôHis discovery of the aesthetic and emotive power of pure color, and his pushing of the fluidity of the medium to a point at which the subject is almost manifest through the paint itself, were important steps toward twentieth-century abstract art, which dispenses with shape and form altogetherö (p. 951). TurnerÆs other works also convey this innovative use of color and this unique portrayal of nature in the Romantic era. In Slavers Throwing Overboard the Dead and Dying, Turner uses color to provide a commentary on the slave trade that was based on a real-life incident. Once more, we see a storm at sea, a natural event which the Romantics considered evidence of the struggle between man and nature. A cosmic catastrophe is threatening both the guilty slaver who has behaved and continues to behave inhumanely, and the innocent dead and dying slaves who have
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Approximate Word count = 1749
Approximate Pages = 7 (250 words per page)

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