Turner's Sketches and Drawings

A survey of the ground we have covered--The training of Turner’s sympathies by the poets--The limits of artistic beauty--and of a merely ‘musical’ education--Turner unlike Words...

The distinction between Art Criticism and Aesthetic--The aim of this chapter--Art and physical fact--The ‘common-sense’ conception of landscape art as evidence of fact--The rela...

Mental characteristics of 1815-1830 period--Their influence on form--and colour--Colour enrichment a general characteristic of Romantic Art--What further development is required...

The works of this period an important yet generally neglected aspect of Turner’s art--Turner’s classification of ‘Pastoral’ as opposed to ‘Elegant Pastoral’--The Arcadian idyll...

Connection between marine painting and the sublime--Turner’s first marine subjects--The ‘Bridgewater sea-piece’--‘Meeting of the Thames and Medway’--‘Our landing at Calais’ and...

The object of this chapter--The first ‘Liber’ drawings were made at W. F. Wells’s cottage at Knockholt, Kent--‘Bridge and Cows’--Development of the so-called ‘Flint Castle’--Mrs...

Change from pure form to light and shade--‘Millbank’ and ‘Ewenny Priory’--Contrast between ‘Ewenny’ and ‘Llandaff’--The transition from objectivity to subjectivity--The growth o...

Welsh tour of 1793--‘St. Anselm’s Chapel’--Turner’s topographical rivals--Midland tour of 1794--Topographical and antiquarian draughtsmanship--Its main interest is not embodied...

There is nothing improbable in this story, though the drawings referred to by Thornbury,[2] as having been bought by a Mr. Crowle under these conditions, do not happen to have b...