The Fighting Temeraire pulled to its last place to be solved, 1838 is an oil paintings by British artist Joseph Mallord William Turner. It was painted in 1838 and was exhibited at the Royal Academy in 1839. The 98-gun HMS Temeraire was one of the last two lines of the line to play a different role in the Battle of Trafalgar in 1805. The painting describes the HMS Temeraire drawn by the steepleaf steeple to its last place in Rotherhithe in southeast London in 1838 to break down for scrap. The painting depended on the National Gallery, London, which was inherited to the nation by artists in 1851. In 2005 it was selected as a favorite painting of the nation in a poll conducted by BBC Radio 4's Today program.
Video The Fighting Temeraire
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When Turner came to paint this picture he was at the peak of his career, having exhibited at Royal Academy, London, for 40 years. He is famous for his very atmospheric paintings in which he explores the subject of weather, sea and light effects. He spent most of his life near the River Thames and performed many ship paintings and combat scenes, both in watercolors and oils. Turner often makes small sketches and then turns them into finished paintings in the studio.
He may or may not have witnessed the actual tower of Temeraire and used a sufficient license in a painting that has a symbolic meaning to him, that his first audience was immediately appreciated. Turner was eighteen years old when England entered the Napoleonic War and "had a strong patriotic footprint". The Temeraire is a very famous ship from its heroic appearance at Trafalgar, and its sale by Admiralty has attracted substantial press coverage, which is probably what brought the subject of attention.
Maps The Fighting Temeraire
Symbolism
The composition of this painting is unusual because the most significant object, the old warship, is positioned well to the left of the painting, where it rises in magnificent splendor and almost a ghostly color to the blue sky triangle and the rising fog that throws it. be relieved. The beauty of the old ship is in sharp contrast to the blackened and dirty tugboats with its high chimney, which rush over the surface of the river.
Turner has used a blue triangle to frame the second triangle of the ridden ship, which decreases in size as they go further. Temeraire and the tugboat had passed a small river boat with his fat sailing boat barely able to catch the wind. Beyond this, the square-rigger drigo, with each screen extended. The other small craft is displayed as a white patch far below the river. In the distance, beyond the second tugboat heading towards them, a three-wheeled boat rode anchor. Sailing sailing ship shows sailing obsolescence.
On the opposite side of the painting to Temeraire , and exactly the same distance from the frame as the main pillar of the ship, the sun goes down on the estuary, the light stretches to the cloud above it, and across the water surface. The red lighted clouds are reflected in the river. It just repeats the color of the smoke flowing from the tugboat funnel. The sun's setting symbolizes the end of an era in the history of the British Navy.
Behind Temeraire , a glimmer of moonlight formed a silver beam across the river, symbolizing the start of a new industrial era. The destruction of heroic forces is the subject of the painting, and it has been alleged that the ship stands for the artist himself, with his tired and glorious past but now contemplating his mortality. Turner refers to his work as "darling", which may be due to its beauty, or identification with the subject.
Sir Henry Newbolt wrote then a ballad titled The Fighting Temeraire , describing the same scene: "And he faded in the river, But in English song forever, He is Fighting TÃÆ' Â © mÃÆ' Â © raire."
Artistic license
Turner took an artistic license with the painting. The ship was known by its crew as "Saucy", not "Fighting" Temeraire . Before being sold to the John Beatson ship-breaker, the ship lay in Sheerness Dockyard, and then moved to the dock at Rotherhithe. As shown in the "prosaic image, made in place by a trained observer" (William Beatson, brother ship-breaker) and transforms into a lithograph, his poles and rigging are removed before sales and travels to the breaker yard. All of the cannons, anchors, and various hardware have been removed and saved for use by the navy as spare parts. He was drawn by two tugboats, not one, and in the other (sun set in the west, while the mouth of the River Thames was at the eastern end of the river).
History of painting
When exhibited at the Royal Academy in 1839, the painting was quite successful, praised in numerous lengthy press reviews that the Summer Fair was later accepted as "the big picture of the last days of one of Britain's bastions" as The Spectator > put it. Novelist William Makepeace Thackeray, reviewing for Fraser's Magazine in the form of most of the "supposedly" Michael Angelo Titmarsh Esq's letters. " abandoning his usual brash tone when discussing "as a big picture as once thought on the walls of any academy, or derived from the artist's horses". Turner presented the painting in 1839 accompanied by an altered quote from Thomas Campbell's Ye Mariners of England poem, reading:
Turner kept the painting in his studio, which also served as a showroom for buyers, until his death. In 1844 he lent it as part of his deal to the reproduction of the print publisher J. Hogarth, who exhibited it at his workplace, but about a year later wrote a draft note that responded to another request that "no consideration [eratio] ns of money or assistance could encourage me to lend my Darling again... ". Hogarth's steelwork by James Tibbits Willmore, who often carved Turner, was published in 1845 and was the first of many reproductions in various techniques. In about 1848, Turner refused an offer to buy a famous painting for Ã, Â £ 5,000, followed by a "blank check", having decided to hand it over to the country, and was very prosperous.
That's obviously usually among the works on display in the studio, and mentioned by some visitors. He intended to leave his paintings to the nation but the provisions of his will were not clear and after his death in 1851 his will was opposed by relatives, and several years of litigation only ended in 1856, when this and a large number of other occupations entered the National Gallery collection. Most of the "Turner Heritage" was handed over to Tate Britain when it was founded in 1897, but the Fighting Temeraire remained in the National Gallery. It was in the Tate Gallery (then) from 1910 to 1914 and 1960 to 1961, and for six months in 1987 to mark the opening of the Clore Gallery there, which housed the remnants of the Heritage. In 1947-48, he went on a European tour to Amsterdam, Bern, Paris, Brussels, LiÃÆ'¨ge, ending at the Venice Biennale. In 1952 exhibited in Cape Town.
The image remains in "excellent condition", apart from the slightly discolored varnish, and appears to have never received a conservation treatment beyond the removal of surface dirt in 1945 and the coating in 1963. X-ray images reveal that Turner appears to have used a canvas where he has started another sea image, with a large screen where the tugboat ship deck structure is now located.
In popular culture
This painting is used in the 2012 James Bond film Skyfall to symbolize Bond's age and current position in MI6:
Q: It always makes me feel a little melancholy. Old warship, mastered all-out for memo... The necessity of time, is not it? What do you see?
Bond: Big ship bloody.
Note
References
- Adkin, Mark (2007). The Trafalgar Companion: A Guide to History's Best Sea Battle and Admiral Lord Nelson's Life . London: Aurum Press. ISBN: 1-84513-018-9.
- Egerton, Judy (1998). National Gallery catalog (new series): School English . ISBNÃ, 1857091701.
- Hawes, Louis (1972). "Turner Fighting Temeraire ". Art Quarterly , XXXV, pp. 22-48.
- Langmuir, Erica (1997). Companion Guide of the National Gallery (revised edition). London: National Gallery. ISBNÃ, 185709218X.
- Moyle, Franny (2016). Turner: Extraordinary Life and Momentous Moments from J.M.W. Turner . ISBN: 0735220921.
- Willis, Sam (2010). The Fighting Temeraire: The Trafalgar Legend. London: Quercus. ISBN: 978-1-84916-261-6.
- Wilton, Andrew (1979). J.M.W. Turner: Art and Life . Tabard Press. ISBN: 0-914427-01-6.
- The Oxford Companion to J.M.W. Turner (Evelyn Joll, Martin Butlin, and Luke Hermann, editor), p. 106-07. New York: Oxford University Press, 2001. ISBNÃ, 0 19 860025 9.
External links
- The Fighting Temeraire Critical Analysis and Reception
- National Gallery Information
- Online Reading Book
- BBC 'In our time podcast', November 2016
- Discussion by Janina Ramirez and Dan Snow: Art Detective Podcast, December 28, 2016
- Lecture on The Fighting Temeraire by Matthew Morgan - National Gallery Lunchtime Talk
Source of the article : Wikipedia
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