Joseph
Mallord William Turner (1775-1851) was a British painter, famous for his
landscapes and, especially, his dramatic seascapes. His paintings reflect a
British Romantic interest in the awe-inspiring power of nature—the Sublime. During
the time of Turner’s artistic career, the Industrial Revolution bolstered the
popular idea of mankind’s unique power manifested in technological advancement
that had the potential to conquer and subdue the natural world. This rise of
man’s power fed the Romantics’ fascination in and juxtaposition of modern
civilization and the raw power of nature. Many of Turner’s works have been
considered to have offered his viewers a world in which nature was haphazard
and often in conflict with humanity.[1]
This juxtaposition of man and nature
develops over the course of Turner’s painting career. The Sublime is depicted
in his landscape paintings with a uniting motif. Early in his career, the
Sublime is depicted as dark, ominous storm clouds. These evolve into a
characteristic streak of dark cloud in conflict with man during the middle of
Turner’s career. Finally, towards the end of his career, he embodies the Sublime
into similarly dark and ominous forms. Constant throughout this artistic
development is Turner’s juxtaposition of man and the Sublime.
J.M.W. Turner, The Shipwreck, c. 1805, oil on canvas, Tate Modern
One
of Turner’s earliest seascapes, The Shipwreck
is one of the artist’s first of many depictions of violent encounters between
man and nature at sea. The light of the men’s sail stands in stark contrast
with the all-consuming storm clouds. Their dark, ominous presence overwhelm the
composition with their reflection in the sea water.
This painting, along with a number
of Turner’s other early seascapes, such as Dutch
Boats in a Gale and The Wreck of a
Transport Ship, feature this dark, looming presence of the Sublime depicted
as storm clouds. This scene, along with the others, presents the viewer with
the aftermath of a violent encounter with nature. The viewer, in union with the
sailors in the paintings, is humbled by the power of the Sublime.
J.M.W. Turner, Snow Storm, Hannibal and His Army Crossing the Alps, c. 1812, oil
on canvas, Tate Modern
In
this landscape, Turner’s dark, all-consuming storm clouds have evolved into a violent,
energized streak of a cloud. This dark force looms over Hannibal and his men,
poised to strike. The scale of the streak, relative to the men, communicates
the power of this storm. The conflict is emphasized by the contrast between the
dark value of the streak with the lighter value of the sky and land near the
men. However, the darkness is already overcoming the men as it darkens the sun.
The viewer knows how this encounter will end.
This dramatic scene juxtaposes man
and nature, with explicit and implicit emphasis on the power of the Sublime.
Explicitly, the scale and ominous quality of the streak communicate its
intensity. Implicitly, the action is depicted prior to the climax of the
conflict, but the overwhelming force that guarantees the victory of the Sublime
is foreshadowed.
J.M.W. Turner, Shipwreck off Hastings, c. 1825, watercolor on paper, National Gallery
of Ireland
Turner
became famous for his watercolor seascapes. In this seascape, the remnants of a
marine vessel are seen in shambles after a shipwreck. The tail end of a sea
storm is receding away with the last of the clouds lingering in the left of the
painting. Their dark, looming quality allude to Turner’s past depictions of the
Sublime. Compositionally, in regard to the contrast of light and dark and the
areas they occupy, this painting echoes Snow
Storm. However, instead of just before the climax, the aftermath of a
conflict is displayed. Man has been defeated. Who is responsible? None other
than the Sublime, seen in the lingering, yet looming mass of dark cloud.
J.M.W. Turner, Shade and Darkness, the Evening of the Deluge, 1843, oil on canvas,
Tate Modern
In this landscape, Turner depicts
the biblical subject of the Deluge, or the flood narrative. By alluding to this
event, the artist references power so great that it can overtake nearly the
entirety of mankind. This power is depicted by Turner’s characteristic streak,
representing the great storm. In this way, the artist associates the Sublime
with the one who has total control over the forces of nature—God. Through this
scene, the artist encourages the viewer to be humbled in the face of such
majestic power.
J.M.W. Turner, Sunrise with Sea Monsters, c. 1845, oil
on canvas, Tate Modern
In
connection to their interest in the Sublime, Romantics were fascinated by
mysterious, powerful forces in nature. Huge sea creatures baited their
imagination. Correlating with the 19th century British interest in
whaling, beasts of the sea were awe-inspiring examples of the power of nature,
of the Sublime.
The viewer will find no storm clouds
or characteristic streaks in this seascape. However, Turner still depicts the
Sublime, but in a new way. In this painting, the Sublime is embodied by the sea
monsters. These monsters, associated with power and agency, are depicted with
the darkest hues in the entire painting. In this way, they still reference the
dark, looming Sublime of Turner’s earlier landscapes.
J.M.W. Turner, Whalers, c. 1845, oil on canvas, The Met
96.29
Towards
the end of his painting career, Turner paints this dramatic seascape conflict
between predator and prey. The whalers have struck the great beast, but have
been blasted away in shambles after the whale has retaliated. Turner captures this
violent encounter with just a glimpse into the drama as the whalers are being
jettisoned out of their fishing boats.
As he did in Sunrise with Sea Monsters, Turner embodies the Sublime in the dark
mass of the whale. As in his Snow Storm
and Shipwreck off Hastings, the
Sublime is held in stark contrast with the white sails of the whalers’ ship. The
viewer may even recognize a subtle streak in the splash of water opposite the
whale. This juxtaposition of man and the Sublime presents the viewer with a
humbling and awe-inspiring scene of man’s encounter with the power and force of
nature.
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