Butlin and Joll The Paintings of J.M.W. Turner, extracts

Introductory remarks

 

There is a frequently quoted saying of Turner’s  reported by Ruskin, to the effect that his works must be kept or seen together.

“Turner appears never to have desired, from any one, care in favour of his separate works. The only thing he would say sometimes was, “Keep them together.” He seemed not to mind how much they were injured, if only the record of the thought were left in them, and they were kept in the series which would give the key to their meaning.”MP 5, Part IX, ch. X,

Internet provides a marvelous way/tool  of seeing the work whole even outside the Tate, or so called Clore Gallery and other museums, together and as  a whole

We will present here on this page the whole of Turner’s oil paintings, using the Butlin and Joel catalogue system. (Check if there is a copyright problem)

(We will eventually do the same for the watercolors and the drawings)

(This allows one to look up quickly and easily a particular work while one is becoming familiar with the work, which is not the case with the Tate website

 

 

 

 

Internet provides a marvelous way of seeing the work whole even outside the Tate or so dammed Clore Gallery, and other  museums, (is the museum without walls multiples a hundred fold)  duplique à puissance 1000)

and the best way to present it in chronological  order with  Butlin  and Joel numbering

Seeing the work whole will give the greatet chance to see/intuit/guess the ultimate meaning, especially if seen with the poetry with which Turner often accompanied his paintings in  the Royal Academy catalogue.

It is true,  and this is avery valuable service,  that the Tate website makes available all of its works by Turner from the Turner bequest  and others, and  some from other collections, (those that are not not  the Tate website, Turner world wide,  are usually available elsewhere on the internet)

But the Tate website though it makes available Turners work is done so without any order chronological or otherwise, and without the poetry

 

This seems to us another  serious ignoring of Turner’s wishes,

 

This is another disrespect for Turser’s wishes

 

 

We will eventually  suggest our own idea of the overall meaning.

It will be up to every one (or every one will be free) to suggest another overall meaning of the Turner Bequest or of Turner’s work if they do not agree with the one put forward here they do not grre  

(The spectator could be asked to make a confession after having seen the collection, what he has done for environment, at the exit to the Collection )

What local green groups he has contacted and joined, asked advice from

The anyhow Guild could premote  this)

they could disturbribute a questionnaire at the entry, and calcite wether seeing the Turner(/Clore ) Gallery in tjhos was has had any effect

Can quote somewhere Ruskin  on energies of the Nation, (MP II)

 

1 Fishermen at Sea

Moonlight, a Study at Millbank exhibited 1797 by Joseph Mallord William Turner 1775-1851

2 Moonlight

 

3

 

 

1798

 

4

 

 

Morning amongst the Coniston Fells, Cumberland exhibited 1798 by Joseph Mallord William Turner 1775-1851

 

5 Morning amongst the Coniston Fells,  Cumberland

http://www.tate.org.uk/art/artworks/turner-morning-amongst-the-coniston-fells-cumberland-n00461

 

 

 

 

Dunstanborough Castle, N.E. Coast of Northumberland. Sun-rise after a Squally Night exhibited 1798 by Joseph Mallord William Turner 1775-1851

6 Dunstunborough Castle Coast of Northunderland sunrise after a squally night

 

 

 

 

7 Buttermere lake,

8

9

10

11

 

J.M.W._Turner_-_Dolbadarn_Castle_-_Study_for_Diploma_Picture12 Dolbadern Castle, North Wales, exh 1800, RA,  Burlington House

How awful is the silence of the waste                                                                               Where nature lifts her monuments to the sky.                                                            Majestic solitude,  behold the tower                                                                              Where hopeless Owen, long imprison’d, pin’d                                                                     And wrung his hands for liberty, in vain.

 

 

These verses considered to be by Turner himself.   They are therefor the first verses of his own attached to a painting

A whole of light appears here, which may symbolise the triumphant thrust of a higher illumination.

See Lindsay on liberty idea in Lindsay 66ii, p. 62

(Check if this is the  study to the finished picture )

 

Snow Storm: Hannibal and his Army Crossing the Alps exhibited 1812 by Joseph Mallord William Turner 1775-1851

126 Snowstorm, Hannibal and his Army Crossing  the Alps, 1812

This painting was exhibited at the Royal Academy in 1812  and accompanied in the catalogue of the exhibit by the following verses by Turner, described for the first time as coming from his ‘MS. P(oem?) Fallacies of Hope’.

‘Craft, treachery and fraud – Salassian force,                                                                     Hung  on the fainting rear ! Then Plunder seized                                                                    The victor and the captive,- Sagentum’s spoil                                                                                  Alike became their prey; still the chief advanced                                                             Look’d on the sun with hope; – low,  broad,  and wan;                                                                 While the fierce archer of the downward year                                                                 Stains Italy’s blanched barrier with storms

 

But the loud breeze sob’d, “Capua’s joys beware ! ”

….

complete poem to  be filled in….

 

To be completed

The Tate Britain  website has left out these verses

According  to the Tate, the picture is about

 

According  to Turners’ verse this is not the fundament meaning od the picture in general or philosophical term

 

See arrival  in Rome comment

This ay be why tate iglines Turner’ poetry

 

 

The Prince of Orange, William III, Embarked from Holland, and Landed at Torbay, November 4th, 1688, after a Stormy Passage exhibited 1832 by Joseph Mallord William Turner 1775-1851343  Prince of Orange, William III, embarked from Holland 

 

Lit Lindsay 66b, p. 61-62

Note added by Turner : “The yacht in which his majesty sailed was

 

Too much trade , too much economics , today all reduced to economics, economics which is cense control itself and does not

 

 

Wild seascapes

 

Rough Sea with Wreckage c.1840-5 by Joseph Mallord William Turner 1775-1851

 

 

Add  Put all liber series and other unfinished ravishing pictures

 

 

 

 

Quote poet French ? quoted by Lindsay on wild sea as symbol of what man makes of world

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

REJETS

 

 

Turners verses  The First time refers to poem Fallacies go Hope

But ht e breeze baware the joys of Capua

(To which Ruskin might have added Beware the Joys of the industrial Revolution ) 

with some of our own observations

 

or

http://www.tate.org.uk/art/artworks/turner-snow-storm-hannibal-and-his-army-crossing-the-alps-n00490

 

Does not work ;?

file:///Users/robert/Desktop/Butlin%20and%20Joll%20from%20Tate%20website%20/1%20%20Butlin%20and%20Joll%20list%20.pages/

 

 

 

REJETS

 

See as a whole even outside bequest

Quote Ruskin on Turner, must be seen together

 

REJETS COMPLETE

OInterne

 

 

 

 

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