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The Lake of Zug, 1843, watercolor and bodycolor with reductive
techniques over graphite, by Joseph Mallord William Turner |
Learning from a friend that several lesser-known works by Joseph Mallord William Turner (1775–1851) were currently on view at the Metropolitan Museum of Art in New York City, another friend and I decided to make a day of it. Part of Allegory and Abstraction: Selections from the Department of Drawings and Prints (Gallery 690), these works—shown alongside pieces by Thomas Girtin (1775–1802), Joachim Lüchteke (active 1595), George Romney (1734–1802), and others—are on view through December 9th.
Our appetites whetted, we wandered through the 19th- and Early 20th-century European Paintings and Sculpture Galleries, pausing before Jean Auguste Dominique Ingres (1780–1867), Théodore Rousseau (1812–1867), Franz von Stuck (1863–1928), Auguste Rodin (1840–1917), and others along the way. In Gallery 808, we encountered Turner’s inimitable Venice, from the Porch of Madonna della Salute (ca. 1835) and Whalers (ca. 1845).
A few days too early for the museum’s Annual Christmas Tree and Neapolitan Baroque Crèche, which opens Tuesday, November 25, we are already planning our return to this venerable institution.
~ By Giovanni di Napoli, November 22nd, Feasts of Blessed Salvatore Lilli and Santa Cecilia
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| Lake of Thun, Plate 15 from Liber Studiorum (Book of Studies), etching, drypoint, and mezzotint; first state of three, June 10, 1808, designed and etched by Joseph Mallord William Turner, engraved by Charles Turner (1774-1857) |
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| Swiss City on the Rhine, Basle, Plate 5 from Liber Studiorum (Book of Studies), etching and mezzotint; first state of six, June 11, 1807, designed and etched by Joseph Mallord William Turner, engraved by Charles Turner (1774-1857) |
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Lindisfarne Castle, Holy Island, Northumberland, 1796-97,
watercolor and bodycolor, by Thomas Girtin |
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| (L) A Nymph Dancing with a Tambourine, ca. 1776, brown ink and wash over graphite, by George Romney. (R) Allegory of Art, 1595, pen and black ink, brush and colored washes, heightened with white, over red chalk, by Joachim Lüchteke |
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The Forest in Winter at Sunset, ca. 1846-67,
oil on canvas, by Théodore Rousseau |
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| The Tempest, marble, carved before 1910, Auguste Rodin |
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| Inferno, 1908, oil on canvas, by Franz von Stuck |
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| (L) Head of St. John the Evangelist, oil on canvas, laid down on wood, by Jean Auguste Dominique Ingres. The study may date from 1818-20. It is also possible that it was painted or reworked in 1841, and touches may have been added as late as 1841. (R) The Virgin Adoring the Host, 1852, oil on canvas, by Jean Auguste Dominique Ingres |
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| Approaching the Turner paintings in Gallery 808 |
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Venice, from the Porch of Madonna della Salute, ca. 1835,
oil on canvas, by Joseph Mallord William Turner |
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| Whalers, ca. 1845, oil on canvas, by Joseph Mallord William Turner |
