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Examines the development of the aesthetic theory of the sublime and looks at Turner's prints, drawings, and watercolors to illuminate the ways he interpreted and individualized the eighteenth-century theory in his own works
A sweeping look at the lives and work of two important English Romantic painters, from a Los Angeles Times Book Prize–winning author. Renowned poet Stanley Plumly, who has been praised for his “obsessive, intricate, intimate and brilliant” (Washington Post) nonfiction, explores immortality in art through the work of two impressive landscape artists: John Constable and J.M.W. Turner. How is it that this disparate pair will come to be regarded as Britain’s supreme landscape painters, precursors to Impressionism and Modernism? How did each painter’s life influence his work? Almost exact contemporaries, both legendary artists experience a life-changing tragedy—for Constable it is the long illness and death of his wife; for Turner, the death of his singular parent and supporter, his father. Their work will take on new power thereafter: Constable, his Hampstead cloud studies; Turner, his Venetian watercolors and oils. Seeking the transcendent aesthetic awe of the sublime and reeling from their personal anguish, these talented painters portrayed the terrible beauty of the natural world from an intimate, close-up perspective. Plumly studies the paintings against the pull of the artists’ lives, probing how each finds the sublime in different, though inherently connected, worlds. At once a meditation on the difficulties in achieving truly immortal works of art and an exploration of the relationship between artist and artwork, Elegy Landscapes takes a wide-angle look at the philosophy of the sublime.
J.M.W. Turner and the Subject of History is an in-depth consideration of the artist's complex response to the challenge of creating history paintings in the early nineteenth century. Structured around the linked themes of making and unmaking, of creation and destruction, this book examines how Turner's history paintings reveal changing notions of individual and collective identity at a time when the British Empire was simultaneously developing and fragmenting. Turner similarly emerges as a conflicted subject, one whose artistic modernism emerged out of a desire to both continue and exceed his eighteenth-century aesthetic background by responding to the altered political and historical circumstances of the nineteenth century.
Thomas Cole (1801-1848) is widely acknowledged as the founder of American landscape painting. Born in England, Cole emigrated in 1818 to the United States, where he transformed British and continental European traditions to create a distinctive American idiom. He embraced the picturesque, which emphasized touristic pleasures, and the sublime, an aesthetic category rooted in notions of fear and danger. Including striking paintings and a broad range of works on paper, from watercolors to etchings, mezzotints, aquatints, engravings, and lithographs, this book explores the trans-Atlantic context for Cole's oeuvre. These works chart a history of landscape aesthetics and demonstrate the essential role of prints as agents of artistic transmission. The authors offer new interpretations of work by Cole and the British artists who influenced him, including J.M.W. Turner and John Constable, revealing Cole's debt to artistic traditions as he formulated a profound new category in art. the American sublime.
The extensive travels of J.M.W. Turner (1775-1851) through Britain and continental Europe provided an inexhaustible source of inspiration for his visionary color compositions, imaginative landscapes, and turbulent, often violent marine paintings. In Switzerland, he experienced both the beauty and the menace of the Alps, while by the sea, he observed the colorful harmonies of diffuse light. These experiences laid the groundwork for Turner to elevate landscape painting to an eminence that rivaled history painting. But how did he get there? Presenting this incomparably original artist on his route to autonomy in art, Turner traces the London artist's travels as he extended his search for motifs to Central Europe during the continent's temporary peace in 1802. He spent much time journeying through the mountains of Switzerland, constantly sketching his impressions of the scenes around him. Upon his return to London, he developed the unique imagery of his sublime landscape paintings. Through one hundred color illustrations that tell a story about the forces of nature of the sea and the Swiss mountain landscapes, the authors here examine the change Turner brought to the portrayal of the sublime and the subject of weather phenomena. Other essays explore Turner's role as the forerunner of modernism and reflect on the relationship between the artist and travel. Bringing together the symphony of colors that composed Turner's view of Switzerland's awe-inspiring landscapes, this book sheds new light on the artist's vision of the Alps and the sea.
The definitive biography of J.M.W. Turner. 'A pleasure to read'.' A.S. BYATT 'With splendid clarity and shrewd humour, James Hamilton evokes the visceral world of a great artist and a fascinating character.' MIKE LEIGH In 1799, aged just 24, Turner became an Associate of the Royal Academy. While influential collectors competed to buy his paintings, he travelled widely, observing landscape and people and gathering material for a cycle of images that would come to express the collective identity of Britain. In this lucid blend of vibrant biography and acute art history, James Hamilton introduces Turner to a new generation of readers and paints a picture of a uniquely generous human being, a giant of the nineteenth century and a beacon for the twenty-first.
Focusing on the painting of the artists JMW Turner, Turner Monet Twombly, and Cy Twombly (1928-2011), this title highlights interests and themes they share, despite the differences in time and geography that separated them that include Romanticism, the sublime, memory and mourning.
Published to accompany the exhibition at the Tate Gallery, Liverpool 23 June - 1 October 2000.