Royal Acadamy

8/6/2019 Royal Acadamy

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J. M. W. TurnerFrom Wikipedia, the free encyclopediaJump to: navigation , search

For other people named William Turner, see William Turner (disambiguation) .

J. M. W. Turner

Self portrait , oil on canvas, circa 1799

Born23 April 1775Covent Garden , London, England

Died19 December 1851 (aged 76)Cheyne Walk

, Chelsea , London, England

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N ti lit E li h

[edit ] Biography

An engraving of a sketch by Turner depicting Brougham Castle . The sketch, made during a visitto the castle in 1809, provided the starting point for a later watercolour.

The Fighting Temeraire tugged to her last berth to be broken up , 1839.

The shipwreck of the Minotaur , oil on canvas.
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Important support for his work also came from Walter Ramsden Fawkes , of Farnley Hall , near Otley in Yorkshire, who became a close friend of the artist. Turner first visited Otley in 1797,aged 22, when commissioned to paint watercolours of the area. He was so attracted to Otley andthe surrounding area that he returned to it throughout his career. The stormy backdrop of

Hannibal Crossing The Alps is reputed to have been inspired by a storm over Otley's Chevin while Turner was staying at Farnley Hall.

Turner was also a frequent guest of George O'Brien Wyndham, 3rd Earl of Egremont at Petworth House in West Sussex and painted scenes that Egremont funded taken from the grounds of thehouse and of the Sussex countryside, including a view of the Chichester Canal . Petworth Housestill displays a number of paintings.

As he grew older, Turner became more eccentric. He had few close friends except for his father,who lived with him for thirty years, eventually working as his studio assistant. His father's deathin 1829 had a profound effect on him, and thereafter he was subject to bouts of depression . Henever married, although his two daughters by Sarah Danby were born in 1801 and 1811.

He died in the house of his mistress Sophia Caroline Booth in Cheyne Walk , Chelsea on 19

December 1851. He is said to have uttered the last words "The sun is God" before expiring. [6] Athis request he was buried in St Paul's Cathedral , where he lies next to Sir Joshua Reynolds . Hislast exhibition at the Royal Academy was in 1850.

The architect Philip Hardwick (17921870) who was a friend of Turner's and also the son of theartist's tutor, Thomas Hardwick , was in charge of making his funeral arrangements and wrote tothose who knew Turner to tell them at the time of his death that, "I must inform you, we havelost him." Other active executors were his cousin and executor, and chief mourner at the funeral,

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Turner placed human beings in many of his paintings to indicate his affection for humanity onthe one hand (note the frequent scenes of people drinking and merry-making or working in theforeground), but its vulnerability and vulgarity amid the 'sublime' nature of the world on theother hand. 'Sublime' here means awe-inspiring, savage grandeur, a natural world unmastered byman, evidence of the power of Goda theme that artists and poets were exploring in this period.The significance of light was to Turner the emanation of God's spirit and this was why he refinedthe subject matter of his later paintings by leaving out solid objects and detail, concentrating onthe play of light on water, the radiance of skies and fires. Although these late paintings appear to

be 'impressionistic' and therefore a forerunner of the French school, Turner was striving for expression of spirituality in the world, rather than responding primarily to optical phenomena.

Rain, Steam and Speed - The Great Western Railway painted (1844).

His early works, such as Tintern Abbey (1795), stayed true to the traditions of English landscape.However, in Hannibal Crossing the Alps (1812), an emphasis on the destructive power of naturehad already come into play. His distinctive style of painting, in which he used watercolour

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High levels of ash in the atmosphere during 1816 the " Year Without a Summer ", led to unusuallyspectacular sunsets during this period, and were an inspiration for some of Turner's work.

John Ruskin says in his "Notes" on Turner in March 1878, that an early patron, Dr ThomasMonro , the Principal Physician of Bedlam , was a significant influence on Turner's style:

His true master was Dr Monro; to the practical teaching of that first patron and the wisesimplicity of method of watercolour study, in which he was disciplined by him andcompanioned by Giston, the healthy and constant development of the greater power is

primarily to be attributed; the greatness of the power itself, it is impossible to over-estimate.

On one of his trips to Europe he met the Irish physician Robert James Graves . 'Graves wastravelling in a diligence in the Alps when a man who looked like the mate of a ship got in, sat

beside him, and soon took from his pocket a note-book across which his hand from time to time passed with the rapidity of lightning. Graves wondered if the man was insane, he looked, sawthat the stranger had been noting the forms of clouds as they passed and that he was no commonartist. The two travelled and sketched together for months. Graves tells that Turner would outline

a scene, sit doing nothing for two or three days, then suddenly, 'perhaps on the third day hewould exclaim 'there it is', and seizing his colours work rapidly till he had noted down the

peculiar effect he wished to fix in his memory.'
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J.M.W. Turner, Calais Pier

Turner left a small fortune which he hoped would be used to support what he called "decayedartists". He planned and designed an almshouse for them at Twickenham with a gallery for someof his works. His will was contested and in 1856, after a court battle, part of his fortune wasawarded to his first cousins including Thomas Price Turner .[11] Another portion of the moneywent to the Royal Academy of Arts , which does not now use it for this purpose, thoughoccasionally it awards students the Turner Medal. His collection of finished paintings was

bequeathed to the British nation, and he intended that a special gallery would be built to house

them. This did not come to pass owing to a failure to agree on a site, and then to the parsimonyof British governments. Twenty-two years after his death, the British Parliament passed an Actallowing his paintings to be lent to museums outside London, and so began the process of scattering the pictures which Turner had wanted to be kept together. In 1910 the main part of theTurner Bequest, which includes unfinished paintings and drawings, was rehoused in the DuveenTurner Wing at the Tate Gallery . In 1987 a new wing of the Tate, the Clore Gallery , was openedspecifically to house the Turner bequest, though some of the most important paintings in itremain in the National Gallery in contravention of Turner's condition that the finished pictures bek d h h I i l i i l b d i i T ' i i h
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The Turner Society was founded by Selby Whittingham at London and Manchester in 1975.After that endorsed the Tate Gallery's Clore Gallery wing as the solution (on the lines of theDuveen wing of 1910), to the controversy of what should be done with the Turner Bequest,

Selby Whittingham resigned from that and founded the Independent Turner Society.

A prestigious annual art award, the Turner Prize , created in 1984, was named in Turner's honour,and twenty years later the Winsor & Newton Turner Watercolour Award was founded.

A major exhibition, "Turner's Britain", with material (including The Fighting Temeraire ) on loanfrom around the globe, was held at Birmingham Museum & Art Gallery from 7 November 2003to 8 February 2004.

In 2005, Turner's The Fighting Temeraire was voted Britain's "greatest painting" in a public pollorganised by the BBC .[13]

Turner's Ovid Banished From Rome , 1838.
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development of Turner's very personal vision, through the many chance or deliberate, but alwaysopportune and enriching interaction that influenced his remarkable career. Nearly 100 paintingsand other graphic works (studies and engravings) from major British and American collections,

as well as the Louvre and the Prado will be on show. [18]

On July 7, 2010, Turner's final painting of Rome, Modern Rome Campo Vaccino, from1839, was bought by the J. Paul Getty Museum at a Sothebys auction in London for $44.9million.

[edit ] Selected works 1799 Warkworth Castle, NorthumberlandThunder Storm Approaching at Sun-Set , oil

on canvas Victoria and Albert Museum , London 1806 The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory ,

oil on canvas Tate Gallery , London 1812 Snow Storm: Hannibal and His Army Crossing the Alps , oil on canvas, Tate

Gallery , London 1817 Eruption of Vesuvius , oil on canvas, Yale Center for British Art , New Haven, CT 1822 The Battle of Trafalgar , oil on canvas, National Maritime Museum , Greenwich ,

London 1829 Ulysses Deriding Polyphemus , oil on canvas , National Gallery , London 1835 The Burning of the Houses of Lords and Commons , oil on canvas, Philadelphia

Museum of Art , Philadelphia 1835 The Grand Canal, Venice , oil on canvas, Metropolitan Museum of Art , New York 1838 The Fighting Temeraire Tugged to Her Last Berth to Be Broken up , oil on canvas,

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Visitor figures

1,267,784 (2009) [1]

Ranked 11th nationallyPresident Sir Nicholas Grimshaw

Public transit access Piccadilly Circus

Website www.royalacademy.org.uk

Satiric drawing of Sir William Chambers, one of the founders, trying to slay the 8-headed hydraof the Incorporated Society of Artists

The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly , London , England . The Royal Academy of Arts has a unique position in being an independent,

privately funded institution led by eminent artists and architects whose purpose is to promote thecreation, enjoyment and appreciation of the visual arts through exhibitions, education and debate.

Contents
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exhibition of contemporary works of art attaining an appropriate standard of excellence. Behindthis concept was the desire to foster a national school of art and to encourage appreciation andinterest in the public based on recognised canons of good taste.

Fashionable taste in 18th century Britain centered on continental and traditional art forms providing contemporary artists little opportunity to sell their works. From 1746 the FoundlingHospital , through the efforts of William Hogarth, provided an early venue for contemporaryartists to show their work in Britain. The success of this venture led to the formation of theSociety of Artists and the Free Society of Artists. Both these groups were primarily exhibitingsocieties and their initial success was marred by internal fractions amongst the artists. Thecombined vision of education and exhibition to establish a national school of art set the RoyalAcademy apart from the other exhibiting societies. It provided the foundation upon which theRoyal Academy came to dominate the art scene of the 18th and 19th centuries supplanting theearlier art societies.

Sir William Chambers used his connections with King George III to gain royal patronage andfinancial support of the Academy and the painter Sir Joshua Reynolds was made its firstPresident.

The Instrument of Foundation of the Royal Academy signed by King George III on 10 December 1768 named 34 Founder Members and allowed for a total membership of 40. The Founder Members were Sir Joshua Reynolds , Benjamin West , Thomas Sandby , Francis Cotes , JohnBaker, Mason Chamberlin , John Gwynn , Thomas Gainsborough , Giovanni Battista Cipriani , Jeremiah Meyer , Francis Milner Newton, Paul Sandby , Francesco Bartolozzi , Charles Catton ,

Nathaniel Hone the Elder , William Tyler, Nathaniel Dance , Richard Wilson (painter) , GeorgeMichael Moser , Samuel Wale, Peter Toms, Angelica Kauffman , Richard Yeo , Mary Moser ,

ll h b h l d d l
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The Royal Academy does not receive financial support from the state or crown. Its income isderived from exhibitions, trust and endowment funds, receipts from its trading activities andfrom the subscriptions of its Friends and Corporate Members. Much of the cost of its activities is

met by sponsorship from commercial and industrial companies, in which the Academy was oneof the pioneers. The Academy thus depends upon a wide range of support from the private sector for the accomplishment of its artistic aims.

One of its principal sources of revenue is hosting a programme of temporary loan exhibitions.These are of the highest quality, comparable to those at the National Gallery , the Tate Galleryand leading art galleries outside the United Kingdom . In 2004 the highlights of the Academy's

permanent collection went on display in the newly restored reception rooms of the originalsection of Burlington House , which are now known as the " John Madejski Fine Rooms".

Under the direction of the former Exhibitions Secretary Norman Rosenthal the Academy hashosted ambitious exhibitions of contemporary art including in 1997 " Sensation " the collection of work by Young British Artists owned by Charles Saatchi . The show created controversy for including a portrait of Myra Hindley by Marcus Harvey that was vandalised while on display.
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In 2004 the Academy attracted press and media attention for a series of financial scandals andreports of a feud between Rosenthal and other senior staff that resulted in the cancellation of what would have been profitable exhibitions. [3] In 2006, it attracted further press by erroneously

placing only the support for a sculpture on display in the belief that it was the sculpture, and then justifying it being kept on display. [4]

In September 2007 Charles Saumarez Smith became secretary and chief executive of the RoyalAcademy, a newly created post. [5]

The Academy has received many gifts and bequests of objects and money. Many of these giftswere used to establish Trust Funds to support the work of the Royal Academy Schools by

providing "Premiums" to students displaying excellence in various artistic genre. The rapidchanges that pulsed through 20th century art have left some of the older prize funds lookingsomewhat anachronistic. But efforts are still made to award each prize to a student producingwork that bears a relation to the intentions of the original benefactor.

[edit ] Royal Academy Schools
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Teaching in the Royal Academy Schools was undertaken by a system of lectures delivered byProfessors and Royal Academician 'Visitors'. Royal Academicians were elected as Visitors andserved in rotation for nine months of the year. Each Visitor attended for a month, setting the

models and examining and instructing the performances of the students. This system lastedthrough into the late 1920s when Visitors were replaced by permanent teachers.

The first woman to enrol as a student of the Schools was Laura Herford in 1860. Three morewomen enrolled in 1861 with a further three in 1862.

The Royal Academy has always provided free tuition to all its student. Tuition is given by practising artists, many of the them Members of the Royal Academy, under the direction of theKeeper.

Today some 60 students study in the Schools on a three-year postgraduate course. The programis focused on studio-based practice across all fine art media. The studios accommodate a widevariety of disciplines, including painting, sculpture, print, installation and time-based and digitalmedia. Selection of candidates is based upon evidence of individual ability and commitment,with an emphasis on potential for further development across the three-year tenure of the course.

Students are given the opportunity twice each year to show their work in the Royal Academy.

[edit ] Library, archive, and collections

The Royal Academy has an important collection of books, archives and works of art accessiblefor research and display. A large part of these collections have been digitised and can beinvestigated through the Collection website. See External Links below.
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The Photographic Collection consists of 19th and 20th century photographs of Academicians,landscapes, architecture and works of art. Holdings include early portraits by William Lake Pricedating from the 1850s, portraits by David Wilkie Wynfield and Eadweard Muybridge's Animal

Locomotion: An Electrophotographic investigation of Consecutive Phases of Animal Movement 18721885. In addition, there are over 55,000 photographs relating to the history of theAcademy, from views of exhibition installations to images of the Academy's homes and its staff.

[edit ] Walls and ceilings

Amongst the paintings decorating the walls and ceilings of the building are those of BenjaminWest and Angelica Kauffman , in the entrance hall (Hutchison 1968, p. 153), moved from the

previous building at Somerset House . In the centre is West's roundel The Graces unveiling Nature c. 1779, [6] surrounded by panels depicting the elements, Fire, Water, Air and Earth. [7] Ateach end are mounted two of Kauffman's circular paintings, Composition and Design at the Westend, and Painting or Colour and Genius or Invention at the East end. [8]

[edit ] Michelangelo's Taddei Tondo
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The category of Associate Member of the Royal Academy (A.R.A.) was introduced in 1769 to provide a means of pre-selecting suitable candidates to fill future vacancies amongAcademicians. Associate membership was abolished in 1991.

In 1918 it was decided that all Academicians and Associates on reaching the age of 75 becomemembers of a Senior Order of Academicians so creating a vacancy in the other categories of membership. A senior member is effectively retired from the day to day government of theAcademy but retains all other membership privileges.

All RAs are entitled to exhibit up to six works in the annual Summer Exhibition. They also havethe opportunity to exhibit their work in small exhibitions held in the Friends' Room and areoccasionally invited to hold major exhibitions in the Sackler Galleries. Many Academicians areinvolved in teaching in the Schools and giving lectures as part of the Royal Academy EducationProgramme.


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