Turner

Fülszöveg

DOLPHIN ART BOOKS muK only
A magnificent library of monographs dedicated to presenting the work of the greatest painters, sculptors and architects of all time. Each volume, based on the latest research, is written by a leading authority, and contains a biography, a critical appraisal of the work, and fully documented notes on each plate.
80 COLOUR PLATES
TURNER
GIUSEPPE GATT
J. M. W. Turner, a London barber's son, learned at the Royal Academy Schools to be a first-class topographical watercolourist, among other things. It was not until his early twenties that his romantic temperament began to flower. He interpreted the epic and historical subject matter favoured by his contemporaries in awe-inspiring natural settings of storms, mists, snow and sun. His concentration on atmospheric effects led Hazlitt to apply to his works what amounts to the first, malicious definition of abstract painting: ' pictures of nothing, and very like '. Indeed, Turner became more and more a painter... Tovább

Fülszöveg

DOLPHIN ART BOOKS muK only
A magnificent library of monographs dedicated to presenting the work of the greatest painters, sculptors and architects of all time. Each volume, based on the latest research, is written by a leading authority, and contains a biography, a critical appraisal of the work, and fully documented notes on each plate.
80 COLOUR PLATES
TURNER
GIUSEPPE GATT
J. M. W. Turner, a London barber's son, learned at the Royal Academy Schools to be a first-class topographical watercolourist, among other things. It was not until his early twenties that his romantic temperament began to flower. He interpreted the epic and historical subject matter favoured by his contemporaries in awe-inspiring natural settings of storms, mists, snow and sun. His concentration on atmospheric effects led Hazlitt to apply to his works what amounts to the first, malicious definition of abstract painting: ' pictures of nothing, and very like '. Indeed, Turner became more and more a painter of light; not the momentary light of the impressionists (who later recognized him as a great precursor), but light transformed by virtue of an inner vision. The vantage-point of the twentieth century makes it possible to see Turner's true stature better than did any of his contemporaries. Even John Ruskin, who called him ' the greatest landscape painter who has ever lived ', never perhaps fully appreciated his achievement as a creator of pure form.
THAMES AND HUDSON Vissza