Jay-Z, price Coldplay and Girls Aloud in concert – that’s the closest analogy in recent times to the new Turner and the Masters exhibition at Tate Britain. There are so many greats in this revealing show that JMW Turner sometimes comes off the worst in the fistfights between complementary pictures hung side-by-side. Bursting with Rembrandts, viagra 40mg Canalettos and Titians, it gives a strong impression of how Turner felt in the world of art: in fierce competition with literally everyone who ever held a paintbrush.
It’s astounding from a modern perspective obsessed with originality to see how similar Turner’s works are in terms of style and composition to those of artists he admired. The Turner of this exhibition is constantly checking on what the person next to him is doing and trying to outdo them.
Turner was totally engaged with the artists who preceded him and those who were his contemporaries. An anecdote that reflects the artist’s temperament is that of the 1832 Royal Academy exhibition: during the “varnishing” time before the show opened to the public, Turner saw Constable’s riotous work “Opening of Waterloo Bridge” (above), which surges with colour, including bold reds. Turner went to his painting “Helvoetsluys” (below), a cool seascape – and added a tiny red buoy. Constable, now in possession of a painting that looked overblown in comparison, complained that “Turner has been here and fired a gun”.
The style of other artists seems utterly up for grabs to Turner. His most famous paintings are those of boats and he was deeply influenced by the painters Jacob van Ruisdael and William van de Velde the Younger, whose “A Rising Gale” (above) is the mirror image of Turner’s “Dutch Boats in a Gale”, though Turner’s work is a moodier, more threatening piece. It is in these scenes of the sea that Turner finds his best-loved topic, but he experimented in what seems like every other niche to get there. His effort to portray rural life in the style of Nicola Tournier falls a little flat and his suggestive style finds a more sympathetic subject in the beauty of nature than in the details of a busy Venetian scene, as shown in a work overpowered by its companion Canaletto.
Imitation is indeed the sincerest form of flattery and although Turner’s antics come across as potentially rather aggravating to other artists, who he copies with the express intent of bettering, he clearly holds those he challenges in high regard. Knowing a little about his relatively humble background, the self-promotion starts to seem like an effort to belong to the establishment art scene of the time, as well as being in the tradition of honing one’s craft by homage. This approach is still in currency: the Arctic Monkeys started out as a Libertines cover band so perhaps things haven’t changed that much after all.
Turner clearly wanted to be considered in the canon of great artists and that wasn’t possible without entering through the doors of the Academy and working in the Grand Style they had designated the high status method of the time. However, he showed just as much interest in the small-scale works of continental artists, perhaps because of their commercial nature: they were more suited for people’s homes and so presumably sold more like hot-cakes than canvases several metres high and wide.
Even among the starry lineup of fellow painters, Turner’s talent shines. Before he hits his stride, the efforts are hit and miss but among them are jewels, which he rustles up from oils, watercolours and ink. The Turner voice is encapsulated by the raging water of “Snowstorm” (above): a swirl of foam, shadow and the suggested sails of a boat. Light and dark and the sense of natural power are more important than seeing the face of the sailor at the helm. This was my favourite work of the show because it is entirely Turner but doesn’t trample on Ruisdael or any other artist. It’s confident in itself – at last! – and movingly beautiful; it reminded me that there is a lot to learn at this exhibition about Turner the man, but also plenty to remind about Turner the artist.
Jay-Z, page Coldplay and Girls Aloud in concert – that’s the closest analogy in recent times to the new Turner and the Masters exhibition at Tate Britain. There are so many greats in this revealing show that JMW Turner sometimes comes off the worst in the fistfights between complementary pictures hung side-by-side. Bursting with Rembrandts, store Canalettos and Titians, pharm it gives a strong impression of how Turner felt in the world of art: in fierce competition with literally everyone who ever held a paintbrush.
It’s astounding from a modern perspective obsessed with originality to see how similar Turner’s works are in terms of style and composition to those of artists he admired. The Turner of this exhibition is constantly checking on what the person next to him is doing and trying to outdo them.
Turner was totally engaged with the artists who preceded him and those who were his contemporaries. An anecdote that reflects the artist’s temperament is that of the 1832 Royal Academy exhibition: during the “varnishing” time before the show opened to the public, Turner saw Constable’s riotous work “Opening of Waterloo Bridge” (above), which surges with colour, including bold reds. Turner went to his painting “Helvoetsluys” (below), a cool seascape – and added a tiny red buoy. Constable, now in possession of a painting that looked overblown in comparison, complained that “Turner has been here and fired a gun”.
The style of other artists seems utterly up for grabs to Turner. His most famous paintings are those of boats and he was deeply influenced by the painters Jacob van Ruisdael and William van de Velde the Younger, whose “A Rising Gale” (above) is the mirror image of Turner’s “Dutch Boats in a Gale”, though Turner’s work is a moodier, more threatening piece. It is in these scenes of the sea that Turner finds his best-loved topic, but he experimented in what seems like every other niche to get there. His effort to portray rural life in the style of Nicola Tournier falls a little flat and his suggestive style finds a more sympathetic subject in the beauty of nature than in the details of a busy Venetian scene, as shown in a work overpowered by its companion Canaletto.
Imitation is indeed the sincerest form of flattery and although Turner’s antics come across as potentially rather aggravating to other artists, who he copies with the express intent of bettering, he clearly holds those he challenges in high regard. Knowing a little about his relatively humble background, the self-promotion starts to seem like an effort to belong to the establishment art scene of the time, as well as being in the tradition of honing one’s craft by homage. This approach is still in currency: the Arctic Monkeys started out as a Libertines cover band so perhaps things haven’t changed that much after all.
Turner clearly wanted to be considered in the canon of great artists and that wasn’t possible without entering through the doors of the Academy and working in the Grand Style they had designated the high status method of the time. However, he showed just as much interest in the small-scale works of continental artists, perhaps because of their commercial nature: they were more suited for people’s homes and so presumably sold more like hot-cakes than canvases several metres high and wide.
Even among the starry lineup of fellow painters, Turner’s talent shines. Before he hits his stride, the efforts are hit and miss but among them are jewels, which he rustles up from oils, watercolours and ink. The Turner voice is encapsulated by the raging water of “Snowstorm” (above): a swirl of foam, shadow and the suggested sails of a boat. Light and dark and the sense of natural power are more important than seeing the face of the sailor at the helm. This was my favourite work of the show because it is entirely Turner but doesn’t trample on Ruisdael or any other artist. It’s confident in itself – at last! – and movingly beautiful; it reminded me that there is a lot to learn at this exhibition about Turner the man, but also plenty to remind about Turner the artist.
The annual Urban Green Fair took place on Sunday the 20th at Brockwell Park with the mission to ‘Skill up for power down’, more about as environmental issues were placed firmly at the forefront.
The whole event was relaxed and laid-back, without the need for loud music and alcohol, but as a domain for independent issues definitely provided food for thought and a proactive energy. The positive and friendly ambience made it a great day out for the whole family, with a zone especially for the kids along with stalls detailing issues such as social justice, building technology and health and healing, there was something for everyone. With local food, jewellery and handmade delights it really showed a community coming together and the great things we can get from independent businesses rather than the giants we see on the high street making every parade a replication.
The Climate Camp had their own stall challenging misconceptions of global warming with a sheet of statements likely to be used to defend not taking action. They were then able to counteract it, to shake off the uncertainty and wavering some might have, and prove that action is vital.
The statement that caught my eye is that scientists only ever speak of a ‘possibility‘ surrounding climate change, and as a result we do not think we need to change our behaviour believing everything will resolve itself. Their answer is that scientists are never going to use words such as ‘definitely’ because for science, proof is a mathematical concept. Just because of scientist’s choice words, the implications already being seen cannot be ignored and it is up to us to balance the evidence.
The ‘speaker’s tent’ was a beacon for paving the way forward. One particular speaker from Rising Tide insisted that climate change should not to be thought of as an environmental issue, but an economical and political issue and why the general public need to have a voice at Copenhagen. It was suggested that a possible solution is food sovereignty, community controlled energy and the refusal of participating in the large economy. A carbon trading system was slammed as it does not work where it has been implemented because companies are able to estimate their own carbon use, consequently leading to an increase rather than decrease in emissions.
As Mark Thomas argued it was us who fought for change, at every stage it is us fighting for these rights, they are not just given to us, so we must fight again. Perhaps the next time this event takes place more progress will have been made, as at the heart of this enjoyable fair there is a serious cry for action before it is too late.
Categories ,Climate Camp, ,copenhagen, ,environment, ,global warming, ,kids, ,Mark Thomas, ,rising tide, ,scientists, ,Urban Green Fair
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