J.M.W. Turner

October 1, 2007 – January 6, 2008
West Building, Main Floor, Galleries 72 through 82

Joseph Mallord William Turner, *Venice: The Dogana and San Giorgio Maggiore*, 1834, oil on canvas, Widener Collection, 1942.9.85

J.M.W. Turner

The Burning of the Houses of Lords and Commons, 16th October, 1834, 1835, Philadelphia Museum of Art, The John Howard McFadden Collection, 1928

We look across churning waves at four sailing ships and a wooden rowboat with four men aboard in this horizontal painting. Dark, iron-gray and tawny-brown clouds approaching from the right fill the top two-thirds of the composition. The water closest to us roils with steel gray and tan, which deepens to charcoal gray as it recedes toward low hills in the distant background. In the lower left corner of the painting, a wooden container bobs in the waves, and a white bird flies low over the water nearby. Two ships to the left of center head directly toward us, leaning steeply to our left with their beige sails taut with wind. Two men, tiny in scale, stand on the deck of the ship to our left. To our right, two ships with butter-yellow and peach sails cut through the water. Three men stand on the deck of the ship in the front, pulling on the rigging. Closest to us and to the right of center, the rowboat crests a wave, tilting forward so we look into the long side of the boat and see the four men there. Near the stern, one man hangs over the side while another holds onto him. Two men sit to the right, one facing us while the other faces away. Sunlight streaks down through a break in the storm clouds to fall on a ship with furled sails in the distance at the center of the composition. This and two additional ships near the distant shoreline are silhouetted against bands of white clouds around blue sky, beyond the bank of dark gray clouds closer to us.

J.M.W. Turner

The Junction of the Thames and the Medway, 1807, oil on canvas, Widener Collection, 1942.9.87

Painted in golden tones of butter and harvest yellow, tawny brown, and olive green, this horizontal landscape painting has a low wall stretching diagonally from the lower right corner off to our left, dividing a river to our right from a grassy lawn to our left. The waist-high wall is lined with tall trees with high canopies, which fill most of the composition. Close to us, at the lower center of the painting, a hoop rests against the end of a second, low wall. A short ladder with four rungs leans against a tree trunk in the lower left corner. Only a sliver of the ivy-covered trunk rises along the left edge of the painting. A short distance away, two chairs near a small, square-topped wooden table sit on the grass under the long shadows of the tall trees. Two or three people, seeming to wear long skirts, stand or sit on the long wall that spans the width of the painting, behind a nearby tree trunk. A navy-blue garment lies over the wall to our right, and a black dog walks on the wall near the center of the painting, beyond the people. Barely visible, a small white dog stands with its front paws on the wall next to the black dog. A pathway alongside the trees and wall leads to a covered structure with a triangular pediment roof held up by fluted columns in the distance. Several long, low barges filled with people float in the river to our right. Red and white flags flutter in the breeze and the full, rectangular sails of a couple of the boats are raised. The placid surface of the river is thickly painted, especially where the small disk of the pale yellow sun reflects on the golden surface of the water below. The horizon comes about a third of the way up the composition and is lined in the deep distance with a band of loosely painted, muted, mauve-pink buildings and trees.

J.M.W. Turner

Mortlake Terrace, 1827, oil on canvas, Andrew W. Mellon Collection, 1937.1.109

A passenger boat, its bright tan sails reflecting the sun, careens among choppy water with at least eight more sailboats and a town along the water’s edge in the distance in this horizontal landscape painting. The water closest to us is muted slate blue, and it lightens as it extends to the horizon, which comes less than a quarter of the way up this composition. We look onto the long side of the passenger boat, at nine men, women, and children huddled in two groups there, in the lower center of the composition. The people wear black, white, red, or blue, and all seem to wear hats, though they are sketchily painted. Foamy, white crests lap at the long side of the tilted boat. Several larger ships with white sails unfurled float beyond to our left. To our right, seven flags and banners fly from a three-masted ship with its sails tied up. Two rows of more than a dozen black canons each poke through doors along the side we can see. It floats upright, closer to the distant town lining the water across the right half of the picture. The buildings are painted with strokes of white paint to create loose silhouettes. Loosely painted vertical strokes suggest more boats and ships lining the harbor. A bank of cream-white and some pale gray clouds fill most of the sky, breaking to reveal blue sky only in the upper right corner of the painting.

J.M.W. Turner

Rotterdam Ferry-Boat, 1833, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.135

Butter-yellow clouds and water, a periwinkle-blue sky, and pale plum-purple buildings blend in hazy, indistinct bands across this horizontal landscape painting. The paint is thickly applied in some areas, especially along the top of the sky, and the scene is loosely painted with visible brushstrokes throughout. The blurry horizon comes about a third of the way up the composition and the small, round, white sun shines low in the sky to our left. The sky or clouds around the sun are painted with shades of pale sapphire-blue with touches of lavender, which give way to a lemon-yellow clouds or haze in the right two-thirds of the sky. Buildings along the horizon, deep in the distance across the right three-quarters of the canvas, are loosely painted with vertical swipes of heather pink and cream white. The water, closest to us, reflects the yellow of the sky with additional touches of celery green. Brown boats spaced along the harbor carry people and objects away from us, toward the town.

J.M.W. Turner

Approach to Venice, 1844, oil on canvas, Andrew W. Mellon Collection, 1937.1.110

We look across a glittering waterway lined with long, low boats and sailboats at an ivory-white church in the distance to our right in this horizontal landscape painting. The horizon line comes about a third of the way up the composition, and wispy white clouds sweep across the brilliant azure-blue sky above. A row of buildings comes into view lining the canal to our right, with a terracotta-orange building followed by a cream-white building beyond, both angled toward the church. The church has a high dome rising over the temple-like front, which has columns supporting a triangular pediment. A tall bell tower rises to the left of the church. The low boats, gondolas, to our left are packed with people while a few gondolas floating in the center of the canal appear occupied only by their gondoliers who stand holding their poles. Painted in tones of ivory and peach, the sails of boats behind the gondolas to our left billow in the breeze while the sails of vessels docked to our right are furled. The structures, boats, and people cast shimmering reflections on the gently rippling surface of the water in the canal. Rows of boats and buildings lining the canal extend into the deep, hazy distance to our left.

J.M.W. Turner

Venice: The Dogana and San Giorgio Maggiore, 1834, oil on canvas, Widener Collection, 1942.9.85

We hover over a flax-yellow body of water lined with ships to our left and right, which are silhouetted against a moonlit, cloud-veiled sky in this horizontal landscape painting. The horizon comes about a third of the way up the composition. The moon hangs to our left of center in the sky, its light reflecting on the clouds in a bright, hourglass shape to create a tunnel-like effect. The sea below turns from a gold color close to us to pale blue along the horizon. To our left, one ship with gray sails is cut off by the edge of the canvas and another, also with gray sails, is situated farther from us. A small, dark rowboat with two passengers moves between them. Light from the windows in buildings along the distant horizon to our left reflect in the water, and another building, a factory, spouts white flame from its chimney. More dark ships line the waterway to our right, their spiky masts black against the sky. Three flames, one orange between two pale yellow fires, flare in the darkness in front of the ship closest to us. The forms of men shoveling coal, crates, and barges are dark silhouettes against the firelight and smoke. More rowboats float among the boats in the distance. Near the lower right corner of the canvas, a broad, flat fragment of wood floats close to us. The hot orange and black on the right side of the painting contrasts with the silvery gray, light blue, and white that fills much of the rest of the composition. The painting was created with thick, blended brushstrokes throughout, giving the scene a hazy look. The texture of some of the brushstrokes is especially noticeable, as where the moon casts white light onto the water and in the clouds. The artist signed a buoy floating to our left with his initials, “JMWT.”

J.M.W. Turner

Keelmen Heaving in Coals by Moonlight, 1835, oil on canvas, Widener Collection, 1942.9.86

A butter-yellow sky fills the top two-thirds of this square landscape painting while in the bottom third, a brown structure is surrounded by golden yellow and pine-green forms like clouds. The scene is loosely painted with visible brushstrokes, so much of the detail is indistinct, and the view seems hazy. Clouds spiral around the sun or moon, painted as a pale yellow disk, hanging in the center of the sky. The golden yellow clouds near the center darken to slate gray then rust brown, and nearly wine red along the top edge. A flock of birds painted as a dense band of navy and denim-blue Vs curve around the sun and continue into the deep distance. Below, touches of burgundy red and brown could indicate people or animals around the arched, copper-brown structure. Cloud-like puffs in forest green and golden yellow could be a forest or wildly crashing waves. A few faint outlines in this area suggest a bear, crocodile, giraffe, and maybe other ghostly creatures.

J.M.W. Turner

The Evening of the Deluge, c. 1843, oil on canvas, Timken Collection, 1960.6.40

J.M.W. Turner

The Burning of the Houses of Lords and Commons, October 16, 1834, 1835, The Cleveland Museum of Art, Bequest of John L. Severance

This exhibition is no longer on view at the National Gallery.

Overview: This comprehensive survey of the work of J. M. W. Turner included 147 paintings and watercolors and 1 drawing by the artist. Many of the works were selected from Tate Britain and others were on loan from public and private collections in Great Britain and North America. The works were organized in chronological sections highlighting stages in the artist's career. His largest painting and only royal commission, The Battle of Trafalgar, 21 October 1805, was loaned to the exhibition from the National Maritime Museum in Greenwich, England. 12 paintings and watercolors depicted the burning of the Houses of Parliament on October 16, 1834. The final section of the installation was devoted to the artist's unfinished works, which had not been exhibited during his lifetime.

The department of exhibition programs produced J.M.W. Turner, a 30-minute documentary film narrated by Jeremy Irons. The film was shown continuously in the West Building, Ground Floor, Project Room during the exhibition and was broadcast on Maryland Public Television. An audio tour was narrated by National Gallery of Art Director Earl A. Powell with commentary by exhibition curators Ian Warrell and Franklin Kelly. Voices of London, a concert of 18th- and 19th-century English composers, was presented on October 14.

Organization: The exhibition was organized by the National Gallery of Art, Washington, the Dallas Museum of Art, and the Metropolitan Museum of Art, New York, in association with Tate Britain, London. Curators were Franklin Kelly, senior curator of American and British paintings, National Gallery of Art, Washington; Dorothy Kosinski, senior curator of painting and sculpture and The Barbara Thomas Lemmon Curator of European Art, Dallas Museum of Art; and Gary Tinterow, Engelhard Curator in Charge of the Department of 19th-Century, Modern, and Contemporary Art at The Metropolitan Museum of Art, New York, in association with Ian Warrell, curator of 18th- and 19th-century British art, Tate Britain.

Sponsor: The exhibition at the National Gallery of Art was sponsored by The Exhibition Circle of the National Gallery of Art. It was supported by Access Industries. Bank of America was the national sponsor. The exhibition was supported by an indemnity from the Federal Council on the Arts and the Humanities. The film was was made possible by the HRH Foundation.

Attendance: 237,851

Catalog: J. M. W. Turner, edited by Ian Warrell with an essay by Franklin Kelly. London: Tate Publishing, 2007.

Brochure: J. M. W. Turner, by Margaret Doyle. Washington DC: National Gallery of Art, 2007.

Other Venues: Dallas Museum of Art, February 10–May 18, 2008
The Metropolitan Museum of Art, June 24–September 21, 2008

British Picturesque Landscapes: September 22, 2007 – February 24, 2008

Turner, Joseph Mallord William: British, 1775 - 1851

J.M.W. Turner Film
Video, Released: January 8, 2008, (14:05 minutes)

Exploring Turner, Part 1: Process
Audio, Released: November 13, 2007, (10:11 minutes)

J.M.W. Turner and America
Audio, Released: November 6, 2007, (6:50 minutes)

Press Event: J.M.W. Turner
Audio, Released: September 25, 2007, (26:05 minutes)

Press Event: J.M.W. Turner
Audio, Released: September 25, 2007, (20:48 minutes)

A Shakespearean Connection
Audio, Released: September 3, 2007, (13:15 minutes)