J.M.W. Turner The Fighting Temeraire tugged to her last Berth to be broken up. Critical Analysis.

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J.M.W. Turner

‘The Fighting Temeraire tugged to her last Berth to be broken up’.

Critical Analysis

Rachel Prince

J.M.W. Turner was born on the 23rd April 1775 in London, and died on the 19th December 1851. Although Turner was considered a controversial figure in his day, he is now seen as one of the best known artists of all time, one who elevated landscape painting to an entire new level. He discovered his love for painting at the early age of 14, and at 18 he had already established his own art studio. The chosen landscape being critically analysed is the ‘Fighting Temeraire, tugged to her Last Berth to be broken up’, by J.M.W. Turner. The artwork was completed in 1838, using the media of oil on canvas sized at 91x122cm. In 2005, ‘The Fighting Temeraire’ was voted the greatest painting in a British art gallery. It currently hangs in the  in . Over the following paragraphs I will be discussing the conceptual framework in relation to ‘The Fighting Temeraire, tugged to her Last Berth to be broken up’ whilst simultaneously concentrating on the relationship of J.M.W. Turner, his artwork (‘The Fighting Temeraire’), his audience, and also the world/influences that surrounds the painting.

J.M.W. Turner had devoted almost his entire life to painting, producing over 20,000 paintings. His one great desire in life was to be an artist, and drawing on different aspects of Impressionism, he could be said to have laid down the foundation for the genre. This style is highly elucidated in his artwork ‘The Fighting Tameraire’. Turner has incorporated both symbolism and colour to provide the artwork with a high level of meaning. By combining a soothing array of colours with symbolic subjects he has illuminated the artwork into a vibrant masterpiece. He has utilised both light and dark areas and included both warm and cool colours to balance the work and provide it with a sense of unity.

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The audience’s eyes are first directed toward the colourful and intensifying sunset in the distance. Turners carefully selected array of peaches, gold’s, yellows and whites entwined within the sunset invite the audience to come into the picture and delve inside. The left half of the painting consists predominately of cool colours, contrasting the warm and vibrant colours on the right hand side, whilst balancing out the warmness. Turner has used quick whirling brushstrokes to create the impression of the shimmering sun on the rippling sea, and the thick full marshmallow like clouds above. Whilst achieving all of this he has ...

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