J.M.W. Turner: Romantic Painter of the Industrial Revolution. By William S. Rodner. Berkeley: University of California Press, Pp. xiv+; illustrations, . Loading data.. Open Bottom Panel. Go to previous Content Download this Content Share this Content Add This Content to Favorites Go to next Content. ← →. J.M.W. Turner Romantic Painter of the Industrial Revolution [William S. Rodner] on *FREE* shipping on qualifying offers.

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The Labor of Art John F. Romantic Painter of the Industrial Revolution. University of California Press, The Labor of Art.

J.M.W. Turner : romantic painter of the industrial revolution in SearchWorks catalog

University of Delaware Press, In the overwhelming majority of paintings and watercolors of the nineteenth century, the industrial revolution hardly seems to exist. The challenges that it posed to traditional conceptions of art were far greater than in literature, and painters determinedly looked in other directions or struggled to hold technological subjects tightly within established aesthetic conventions.

The artists discussed in these two books form important exceptions in this regard. Each attempted major works that squarely confronted the spectacle of industrial technology.

SearchWorks Catalog

Turner — was born in London infustrial economically straitened and emotionally strained circumstances. His father worked as a barber and brush maker; his mother teetered on the edge of insanity and ultimately died in a lunatic asylum.

Coarse in manner but [End Page ] armed with prodigious talent, energy, intellect, and professional ambition, Turner pushed himself upward. He ranged widely in his travels, artistic styles, and subjects, attracting patronage for his views of castles and county seats, seascapes and harbors, river valleys and alpine avalanches, fires and storms, steamships, railways, and industrial towns.


Though his growing fascination with a generalized but intense rendering of color, light, and atmosphere bewildered conservative critics, he has been acclaimed the greatest of all English painters and the greatest landscapist of his day.

Thornbury,and swelling notably in recent decades. The artistic education for which Turner had to struggle and the social polish that always eluded him came to Weir with the ease of opening a parlor door. Propelled by the example of his father and the artists around him, the younger Weir achieved one of the most promising debuts of any American painter of his generation with a series of triumphs in the s, including The Gun Foundry —66 and Forging the Shaft original version — At a time when American artists were deeply conscious of their provincialism, he made his first trip to Europe late in Yet Weir was able to devote himself full-time to painting for only six years.

Just when his artistic prospects seemed brightest, he accepted a position as director of the newly established School of the Fine Arts at Yale, where he taught for the next forty-four years.

The weight of his academic duties forced him from the path of an artistic pioneer to that of a respectable figure in the middle ranks. If Turner became an increasingly bright, arresting, and abiding star in British and in modern art, Weir appeared a comet, briefly flashing and then extinguished, doubly obscured by the glow of the work of his father and of his younger half-brother, the American Impressionist J. His slight, j.m.w.trner Recollections appeared inmore than thirty years after his death.


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