Famous European Artists Part 26

At twenty-two, he journeyed into the counties of Yorks.h.i.+re and Kent, and soon produced "Morning on the Coniston Fells," in 1798; "Cattle in Water; b.u.t.termere Lake," 1798; and "Norham Castle on the Tweed." Twenty years afterward, as he was pa.s.sing Norham Castle, with Cadell, an Edinburgh publisher, he took off his hat to the castle. Cadell expressed surprise. "Oh," said Turner, "I made a drawing or painting of Norham several years ago. It took; and from that day to this I have had as much to do as my hands could execute."

In Yorks.h.i.+re, the rising young artist, natural and genial in manner, though small and somewhat plain in person, made many warm friends. He was often a guest at Farnley Hall, owned by Mr. Hawkesworth Fawkes, who afterward adorned his home with fifty thousand dollars' worth of Turner's pictures.

Mr. Fawkes's son speaks of "the fun, frolic, and shooting we enjoyed together, and which, whatever may be said by others of his temper and disposition, have proved to me that he was, in his hours of distraction from his professional labors, as kindly-hearted a man, and as capable of enjoyment and fun of all kinds, as any I ever knew."

Mrs. Wheeler, a friend in these early years, says: "Of all the light-hearted, merry creatures I ever knew, Turner was the most so; and the laughter and fun that abounded when he was an inmate of our cottage was inconceivable, particularly with the juvenile members of the family."

Somewhere between the ages of nineteen and twenty-three, a sorrow came which seemed completely to change Turner's nature. While at the Margate school, he had fallen in love with the sister of a schoolmate; the love had been reciprocated, and an engagement followed a few years later.

During a long absence in his art work, their letters were intercepted by the young lady's stepmother, who finally prevailed upon her to become engaged to another. A week before the wedding, Turner arrived at Margate, and besought her to marry him; but his betrothed considered herself in honor bound to the new lover. The marriage proved a most unhappy one, and Turner remained a disappointed and solitary man through life.

His art now became his one absorbing thought; he worked early and late, often rising for work at four o'clock in the morning, saying sadly that there were "no holidays for him."

In 1799, when he was twenty-four, he was made an a.s.sociate of the Royal Academy, and a full academician in 1802. Hamerton says: "His election is the more remarkable, that he had done nothing whatever to bring it about, except his fair hard work in his profession. He was absolutely incapable of social courtiers.h.i.+p in any of its disguises. He gave no dinners, he paid no calls, he did nothing to make the academicians believe that he would be a credit to their order in any social sense.

Even after his election, he would not go to thank his electors, in obedience to the established usage. 'If they had not been satisfied with my pictures,' he said to Stothard, 'they would not have elected me. Why, then, should I thank them? Why thank a man for performing a simple duty?' His views on the subject were clearly wrong, for the rules of good manners very frequently require us to thank people for performing simple duties, and the academicians were not under any obligation to elect the young painter so soon; but how completely Turner's conduct in this matter proves that he can only have been elected on his merits!...

"His elevation to the full members.h.i.+p was of immense value to him in his career, and he knew this so well that he remained deeply attached to the Academy all his life. He was a.s.sociate or member of it for a full half-century, and during fifty years was only three times absent from its exhibitions."

This year, 1802, he removed to 64 Harley Street, taking his plain old father home to live with him. He took his first tour on the Continent, this year, making studies of Mont Blanc, the Swiss lakes and mountain pa.s.ses. The exhibitions of 1803 to 1806 contained, among other pictures, "The Vintage at Macon," the celebrated "Calais Pier" in a gale; "The Source of the Arveiron," "Narcissus and Echo," "Edinburgh from Calton Hill;" his famous "s.h.i.+pwreck," now in the National Gallery; and the magnificent "G.o.ddess of Discord choosing the Apple of Contention in the Garden of Hesperides," also in the National Gallery.

In 1807, Turner began, at the suggestion of his friend, Mr. W. F. Wells, the _Liber Studiorum_, issued in dark blue covers, each containing five plates, the whole series of one hundred plates to be divided into historical, landscape, pastoral, mountainous, marine, and architectural. The work was intended as a rival to Claude Lorraine's _Liber Veritatis_.

After seventy plates had been published, the project came to an end in 1816, because of disagreement with engravers, and lack of patronage. The princ.i.p.al pictures were "aesacus and Hesperia," "Jason," "Procris and Cephalus," the "Fifth and Tenth Plagues of Egypt," "Christ and the Woman of Samaria," "Rizpah," "Raglan Castle," the "River Wye," "Solway Moss,"

"Inverary," the "Yorks.h.i.+re Coast," "Mer de Glace," the "Lake of Thun,"

"St. Gothard Pa.s.s," the "Alps from Gren.o.ble," "Dunstanborough Castle,"

and others.

"So hopeless and worthless did the enterprise seem, at one time," says M. F. Sweetser, "that Charles Turner, the engraver, used the proofs and trials of effect as kindling paper. Many years later, Colnaghi, the great print-dealer, caused him to hunt up the remaining proofs in his possession, and gave him fifteen hundred pounds for them. 'Good G.o.d!'

cried the old engraver, 'I have been burning bank-notes all my life.'...

In later days three thousand pounds had been paid for a single copy of the _Liber_."

"The most obvious intention of the work," says Monkhouse, "was to show Turner's own power, and there never was, and perhaps never will be again, such an exhibition of genius in the same direction. No rhetoric can say for it as much as it says for itself in those ninety plates, twenty of which were never published. If he did not exhaust art or nature, he may be fairly said to have exhausted all that was then known of landscape art, and to have gone further than any one else in the interpretation of nature....

"Amongst his more obvious claims to the first place among landscape artists are his power of rendering atmospherical effects, and the structure and growth of things. He not only knew how a tree looked, but he showed how it grew. Others may have drawn foliage with more habitual fidelity, but none ever drew trunks and branches with such knowledge of their inner life.... Others have drawn the appearance of clouds, but Turner knew how they formed. Others have drawn rocks, but he could give their structure, consistency, and quality of surface, with a few deft lines and a wash; others could hide things in a mist, but he could reveal things through mist. Others could make something like a rainbow, but he, almost alone, and without color, could show it standing out, a bow of light arrested by vapor in mid-air, not flat upon a mountain, or printed on a cloud.... If we seek the books from which his imagination took fire, we have the Bible and Ovid; the first of small, the latter of great and almost solitary power. Jason, daring the huge glittering serpent; Syrinx, fleeing from Pan; Cephalus and Procris; aesacus and Hesperia; Glaucus and Scylla; Narcissus and Echo. If we want to know the artists he most admired and imitated, or the places to which he had been, we shall find easily nearly all the former, and sufficient of the latter to show the wide range of his travel. In a word, one who has carefully studied the _Liber_ has indeed little to learn of the range and power of Turner's art and mind, except his color and his fatalism."

In 1808, Turner was appointed professor of perspective in the Royal Academy, which position he held for thirty years, though he rarely gave lectures to students, owing to his confused manner and obscurity in the use of language. Ruskin says: "The zealous care with which Turner endeavored to do his duty is proved by a large existing series of drawings, exquisitely tinted, and often completely colored, all by his own hand, of the most difficult perspective subjects; ill.u.s.trating not only directions of line, but effects of light, with a care and completion which would put the work of any ordinary teacher to utter shame. In teaching generally, he would neither waste time nor spare it; he would look over a student's drawing at the Academy, point to a defective part, make a scratch on the paper at the side, say nothing. If the student saw what was wanted, and did it, Turner was delighted; but if the student could not follow, Turner left him."

Turner this year moved to the Upper Mall, Hammersmith, where his garden extended to the Thames. In this he had a summer-house, where some of his best work was done. He still retained the Harley-Street house, and lived in it much the life of a recluse. Mr. Thornbury tells the following incident:--

"Two ladies called upon Turner while he lived in Harley Street. On sending in their names, after having ascertained that he was at home, they were politely requested to walk in, and were shown into a large sitting-room without a fire. This was in the depth of winter; and lying about in various places were several cats without tails. In a short time our talented friend made his appearance, asking the ladies if they felt cold. The youngest replied in the negative; her companion, more curious, wished she had stated otherwise, as she hoped they might have been shown into his sanctum or studio. After a little conversation he offered them wine and biscuits, which they partook of for the novelty, such an event being almost unprecedented in his house. One of the ladies bestowing some notice upon the cats, he was induced to remark that he had seven, and that they came from the Isle of Man."

Turner was fond of his pet cats, and would let no harm come to them.

After he had moved, in 1812, to 47 Queen-Anne Street, one of his favorite pictures, "Bligh Sh.o.r.e" was used as a covering for a window. A cat desiring to enter the window scratched the picture severely, and was about to be punished for the offence, by Mrs. Danby, the housekeeper, when Turner said, "Never mind," and saved the cat from the whipping.

At his house in Twickenham, which he bought and rebuilt in 1813 or 1814, calling it Solus Lodge on account of his desire to be alone, and afterwards Sandycomb Lodge, the boys named him "Blackbirdy," because he protected the blackbirds in the adjacent trees, not allowing their nests to be robbed. Turner sold this place after having owned it about twelve years, because his aged father, whom he always called "Dad," was always working in the garden and catching cold.

The eccentric artist must have been at this time quite rich, as well as famous. He had painted "The Sun rising in Mist," in 1807; the well-known "Wreck of the Minotaur," in 1810; "Apollo killing the Python," in 1811; "Hannibal and his Army crossing the Alps in a Snowstorm," in 1812; and "Crossing the Brook," and "Dido building Carthage," in 1815. "The first ('Crossing the Brook')," says Monkhouse, "is the purest and most beautiful of all his oil pictures of the loveliness of English scenery, the most simple in its motive, the most tranquil in its sentiment, the perfect expression of his enjoyment of the exquisite scenery in the neighborhood of Plymouth. The latter ('Dido building Carthage'), with all its faults, was the finest of the kind he ever painted, and his greatest effect in the way of color before his visit to Italy."

It is said that "Crossing the Brook" was painted for a gentleman who ordered it with the promise of paying twenty-five hundred dollars for it, but was disappointed in it when finished, and refused to take it.

Turner was afterwards offered eight thousand dollars for it, but would not sell it.

In 1815, the artist, now forty years old, was again disappointed in love. He wrote to one of his best friends, Rev. H. Scott Trimmer, vicar of Heston, concerning his sister, Miss Trimmer: "If she would but waive her bashfulness, or, in other words, make an offer instead of expecting one, the same (Sandycomb Lodge) might change occupiers." But Miss Trimmer had, at this time, another suitor, whom she married, and Turner never again attempted to win a wife.

In 1817, "The Decline of the Carthaginian Empire" was exhibited, a companion piece to the Building of Carthage. Years later, Sir Robert Peel, Lord Hardinge, and others, offered twenty-five thousand dollars to Turner for the two pictures, intending to present them to the National Gallery. "It's a n.o.ble offer," said the painter, "but I have willed them." He had already made his will, privately, giving these and other pictures to the nation.

The artist is said to have once remarked to his friend Chantrey, the sculptor: "Will you promise to see me rolled up in the 'Carthage' at my burial?"

"Yes," was the reply; "and I promise you also that, as soon as you are buried, I will see that you are taken up and unrolled."

In 1819, Turner made his first visit to Italy, after which his works became remarkable for their color. In 1823, says Monkhouse, "he astonished the world with the first of those magnificent dreams of landscape loveliness with which his name will always be specially a.s.sociated: 'The Bay of Baiae, with Apollo and the Sibyl.'"

The "Rivers of England" was published in 1826, with sixteen engravings after Turner's designs. Monkhouse says: "For perfect balance of power, for the mirroring of nature as it appears to ninety-nine out of every hundred, for fidelity of color to both sky and earth, and form (especially of trees), for carefulness and accuracy of drawing, for work that neither startles you by its eccentricity nor puzzles you as to its meaning, which satisfies without cloying, and leaves no doubt as to the truth of its illusion, there is none to compare with these drawings of his of England after his first visit to Italy."

During this year, 1826, among other pictures, Turner exhibited his "Cologne--the Arrival of a Packet-boat--Evening." "There were," says Hamerton, "such unity and serenity in the work, and such a glow of light and color, that it seemed like a window opened upon the land of the ideal, where the harmonies of things are more perfect than they have ever been in the common world." The picture was hung between two of Sir Thomas Lawrence's portraits, the golden color of the "Cologne" dulling their effect. Turner at once covered his picture with lampblack, thereby spoiling it for the public view. When reproached by the critics, he said: "Poor Lawrence was so unhappy. It will all wash off after the Exhibition." "Was there ever," says Hamerton, "a more exquisitely beautiful instance of self-sacrifice?" The "Cologne" was sold, in 1854, to Mr. John Naylor, for two thousand guineas.

Turner made designs for twenty ill.u.s.trations in Rogers's poem of "Italy," for which, it is a.s.serted, he would accept but five guineas each, as the execution of the work pleased him so well; thirteen ill.u.s.trations for "The Provincial Antiquities of Scotland," for which Sir Walter Scott wrote the letter-press; and twenty-six pictures for Finden's "Ill.u.s.trations of the Bible." Turner generally received from twenty to one hundred guineas for each drawing used, which was returned to him that he might sell it, if he so desired.

In 1827 the first part of his largest series of prints was published: "England and Wales." The work was discontinued twelve years later, because it was not a pecuniary success.

Bohn offered twenty-eight hundred pounds for the copper plates and stock, but Turner himself bid them in, at the auction, for three thousand pounds, saying to Bohn: "So, sir, you were going to buy my 'England and Wales' to sell cheap, I suppose--make umbrella prints of them, eh? But I have taken care of that."

He disliked steel engravings, or any plan to cheapen or popularize art.

He once told Sir Thomas Lawrence that he "didn't choose to be a basket engraver." Being asked what he meant, he replied: "When I got off the coach t'other day at Hastings, a woman came up with a basketful of your 'Mrs. Peel,' and wanted to sell me one for a sixpence."

The painter's hard-working life, with little comfort save what fame brings to a man who eagerly seeks it, received its greatest shock in the death of the aged father, in 1830. Turner said, "The loss was like that of an only child." His friends the Trimmers said, "He never appeared the same man after his father's death."

The plain barber had lived with his son for thirty years, and had seen him gain wealth and renown. He could do little save to encourage with his affection and be proud and grateful for the painter's success. And this was enough. He was buried in St. Paul's, Covent Garden, the artist writing this inscription for his monument:--

IN THE VAULT BENEATH AND NEAR THIS PLACE ARE DEPOSITED THE REMAINS OF WILLIAM TURNER, MANY YEARS AN INHABITANT OF THIS PARISH, WHO DIED SEPTEMBER 21ST, 1830.

TO HIS MEMORY AND OF HIS WIFE, MARY ANN, THEIR SON J. M. W. TURNER, R. A., HAS PLACED THIS TABLET, AUGUST, 1832.

In 1832, Turner exhibited his memorable "Childe Harold's Pilgrimage; Italy," in which he seemed to combine the mountains, the trees, the cities, and the skies he had loved in that beautiful country. From 1833 to 1835 he produced his exquisite series, "The Rivers of France." Ruskin says: "Of all foreign countries, Turner has most entirely entered into the spirit of France; partly because here he found more fellows.h.i.+p of scene with his own England; partly because an amount of thought which will miss of Italy or Switzerland will fathom France; partly because there is in the French foliage and forms of ground much that is especially congenial with his own peculiar choice of form.... He still remains the only, but in himself the sufficient, painter of French landscape."

In 1833 Turner exhibited the first of his eleven remarkable Venetian pictures, one of the finest being, "The Sun of Venice going to Sea."

"The characteristics which they have in common," says Hamerton, "are splendor of color and carelessness of form; the color being, in most instances, really founded upon the true Venetian color, but worked up to the utmost brilliance which the palette would allow, the forms simply sketched, exactly on the principles of the artist's own free sketching in water colors.... It is believed, and with probability, that he blocked out the picture almost entirely in pure white, with only some very pale tinting, just to mark the position of the objects, and that this white preparation was thick and loaded from the beginning. On this he afterwards painted thinly in oil or water-color, or both, so that the brilliance of the white shone through the color, and gave it that very luminous quality which it possesses. This is simply a return to the early Flemish practice of painting thinly on a light ground, with the difference, however, that Turner made a fresh ground of his own between the canvas and his bright colors, and that the modelling of the impasto with the brush was done in this thick white. The result was to unite the brilliance of water-color to the varied and rich surface of ma.s.sive oil-painting."

These pictures called forth much adverse criticism, but they soon had a Herculean defender in the "Oxford Undergraduate" of 1836, the Ruskin of "Modern Painters." In 1839, Turner exhibited "The fighting _Temeraire_ tugged to her last berth to be broken up, 1838." Thornbury tells how the subject was suggested to Turner.

"In 1838, Turner was with Stanfield and a party of brother artists on one of those holiday excursions, in which he so delighted, probably to end with whitebait and champagne at Greenwich. It was at these times that Turner talked and joked his best, s.n.a.t.c.hing, now and then, a moment to print on his quick brain some tone of sky, some gleam of water, some sprinkling light of oar, some glancing suns.h.i.+ne cross-barring a sail.

Suddenly there moved down upon the artist's boat the grand old vessel that had been taken prisoner at the Nile and that led the van at Trafalgar. She loomed pale and ghostly, and was being towed to her last moorings at Deptford by a little fiery, puny steam-tug.

"'There's a fine subject, Turner,' said Stanfield," and the suggestion was gladly acted upon.

Hamerton says: "The picture is, both in sentiment and execution, one of the finest of the later works. The sky and water are both magnificent, and the s.h.i.+pping, though not treated with severe positive truth, is made to harmonize well with the rest, and not stuck _upon_ the canvas, as often happens in the works of bad marine painters. The sun sets in red, and the red, by the artist's craft, is made at the same time both decided in hue and luminous, always a great technical difficulty. Golden sunsets are easy in comparison, as every painter knows. This picture has more than once been a.s.sociated by critics with the magnificent 'Ulysses deriding Polyphemus,' which was painted ten years earlier. Both are splendid in sky and water, and both are florid in color. Mr. Ruskin's opinion is that the period of Turner's central power, 'entirely developed and entirely unabated, begins with the Ulysses, and closes with the _Temeraire_.'

"This decade had been a time of immense industry for Turner. In that s.p.a.ce he had made more than four hundred drawings for the engraver, had exhibited more than fifty pictures in the Royal Academy, and had executed, besides, some thousands of sketches, and probably many private commissions which cannot easily be ascertained."

One reason of his aversion to society was his desire to save time for this great amount of work. The _Temeraire_, though sought by several persons, the artist refused to sell at any price, and bequeathed it to the nation.