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These are claims by the holder and by Wikidata, read 2026-09-04, and join nothing until an editor confirms them.
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Rights
- Credit
- Yale Center for British Art, Paul Mellon Collection
- Licence
- PDM-1.0
- Evidence
- manifests.collections.yale.edu: Copyright Statement=Public Domain on ycba object 6ed65d5f-742a-4b01-8c96-e394606ca7ff (https://manifests.collections.yale.edu/v2/ycba/obj/421); Image Use Rights=No Copyright: You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission. (CC0 1.0) (read 2026-08-27)
- Record
- https://collections.britishart.yale.edu/catalog/tms:421
- IIIF
- manifest
Also by Joseph Mallord William Turner
2
Within fifty years of exhibited 1803
3228
Also at Yale Center for British Art
12
Similar picturesFound by visual likeness
8 picturesVisual resemblances suggested by the model. A match does not establish a shared subject or historical connection.
In the stacks
Not yet checked4Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.
Modern Painters, Volume 1 (of 5)
Sec. 46. Reflection of his very recent works. On such instances I shall not insist, for the finding fault with Turner is not, I think, either decorous in myself or like to be beneficial to the reader.[15] The greater number of failures took place in the transition period, when the artist was feeling for the new qualities, and endeavoring to reconcile them with more careful elaboration of form than was properly consistent with them. Gradually his hand became more free, his perception and grasp of the new truths more certain,
0.72Modern Painters, Volume 1 (of 5)
WORDSWORTH. [81] It has been hinted, in some of the reviews of the Second Volume of this work, that the writer's respect for Turner has diminished since the above passage was written. He would, indeed, have been deserving of little attention if, with the boldness manifested on the preceding pages, he had advanced opinions based on so shallow foundation as that the course of three years could effect modification of them. He was justified by the sudden accession of power which the great artist exhibited at the period when this
0.70Modern Painters, Volume 1 (of 5)
[15] One point, however, it is incumbent upon me to notice, being no question of art but of material. The reader will have observed that I strictly limited the perfection of Turner's works to the time of their first appearing on the walls of the Royal Academy. It bitterly grieves me to have to do this, but the fact is indeed so. No _picture_ of Turner's is seen in perfection a month after it is painted. The Walhalla cracked before it had been eight days in the Academy rooms; the
0.69[99] He did not use his full signature, J. M. W., until about the year 1800. [100] I shall give a _catalogue raisonnee_ of all this in the third volume of "Modern Painters." [101] The plate was, however, never published. [102] And the more probably because Turner was never fond of staying long at any place, and was least of all likely to make a pause of two or three days at the beginning of his journey. [103] Vide Modern Painters, Part II. Sect. III. Chap. IV. Sec. 14. [104]
0.69