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WILLIAM
TURNER Born and bred a Londoner, Turner's precocious talent took him at the age of fifteen to the Royal Academy Schools and the Royal Academy Summer Exhibition of 1790. Nine years later, at the youngest permiss- age, he was elected an Associate of the Academy which supported him through the criticism and misinterpreta-tion which was to plague his career. Turner was influenced by the architectural watercolorists with whom he worked as a boy. and his mature style combined a respect for the Old Masters, the ideals of eighteenth century artists, and the originality born of the individualism of the Romantic movement. He was also fascinated by the scientific ideas of his age and studied color and light theory, particularly the importance of yellow which was felt to be the closest color to 'the pro-duction of a white light . Turner's atmospheric light effects have been described as being 'invented', despite his com-mitment to work from nature. He preferred using pencil outdoors, as he found even water-color time-consuming and inhibiting. In his early work, Turner exploited the dark warm grounds typical of eighteenth century landscapists: later, his grounds became paler and his mature works were generally executed on a white ground which enhanced and tended the brilliant colors which characterized Turner's palette. From the start. Turner adopted broad underpainting, using a variety of washed colors, rather than the more usual monochrome. Pinks, blues and yellows pre-dominated in his underpainting which both established the composition and gave an emo-tive atmosphere to the coloring which was added subsequently. Turner's use of colors, overlaid on the canvas rather than mixed on the palette, was described by a friend as approximating to 'the excellencies of Venetian coloring'. Turner depended as much on the use of scumbling as on glazing, but always the softness of these effects was counteracted by the tough and abrupt application of a thick, dense paint surface. This process of superimposing thick layers, toning them down and then returning to them was a source of fascination in Turner's technique which produced, in the in the words of a contemporary: 'solid and crisp lights surrounded with ethereal nothingness'. Turner often used double and canvases with two layers
of ovei linen left loose. These were often primed on both sides for protection.
The canvas texture was not used in the painting process due to the thick
ground. Thin washes were probably used to create the chief compositional
structure, although they are no longer visible. The paint surface has
been built up by the over-laying of stiff, impasted colors dragged over
one another to create a broken effect. The paint quality is dryish with
blacks and dark glazes added in a thin consistency. The paint is concentrated
mainly on the development of lights using dirty white and yellows in scumblings
and impasto worked wet over dry.
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