Ahs England Paintings

Front 1

from Zürich, Switzerland, trained to be Catholic priest
but had to flee Zürich for political reasons.
In England, Reynolds urged him to make art his life.

Back 1

Fuseli

Front 2

Associated with radical progressives
such as feminist Mary Wollstonecraft,
American revolutionary Thomas Paine,
scientists Joseph Priestly and Erasmus
Darwin.

Back 2

Fuseli

Front 3

Did many works inspired
by English literature,
especially Shakespeare
and Milton.

Back 3

Fuseli

Front 4

1799 appointed Professor of Painting
at Royal Academy; soon after named
head of all Academy schools.

Back 4

Fuseli

Front 5

Famous poet as well as artist
Modest success at best, at worst impoverished

Apprenticed to commercial engraver James Basire

Back 5

Blake

Front 6

Among first known illustrations by Blake
as independent artist

Back 6

engravings for
the feminist Mary Woolstonecraft’s book
Original Stories From Real Life, 1791

Front 7

would say William Blake invented, his brother showed him in a dream

Back 7

relief etching

Front 8

Blake’s first major work in the manner to become his trademark was
his illustrated set of poems

Back 8

Songs of Innocence

Front 9

his first in a series
of works in which he created his own mythology,

Back 9

Book of Thel

Front 10

another
of his neo-mythologies, or “prophecies”. is roughly equivalent to the
Hebrew creator god Jehovah, not an entirely benevolent being.

Back 10

Blake produced The Book of Urizen

Front 11

From Suffolk in east England (see map)
Father corn merchant, owned mills,
expected son to continue in the business.
Wanted to be
“a natural painter”:

Back 11

Constable

Front 12

constable Frustrated his works being ignored,

Back 12

increased scale, six feet wide

Front 13

seen by Géricault who recommended to Paris dealer.

Back 13

The Hay Wain

Front 14

did series of sky/cloud
studies in watercolor and oils. Interested
in developments in meteorology, especially
cloud classification systems

Back 14

Constable

Front 15

an intagio method which creates gray tones
by working the plate with a toothed wheel; the tiny dents hold ink.
Precursor of halftone printing

Back 15

Mezzotint

Front 16

Constable’s last painting

Back 16

Arundel Castle and Mill

Front 17

w

Back 17

Arundel Castle and Mill
Constable

Front 18

w

Back 18

The White Horse
constable

Front 19

w

Back 19

The Hay Wain
Constable

Front 20

w

Back 20

Constable
Hadleigh Castle

Front 21

w

Back 21

The Nightmare
Fuseli

Front 22

w

Back 22

2nd v of Nightmare,
Fuseli

Front 23

w

Back 23

The Blind Milton being read
to by his daughter
Fuseli

Front 24

w

Back 24

Fuseli
German Siegfried
Brünhilde observing Günther hanging from a hook in her bedroom.

Front 25

w

Back 25

Shakespeare: Lady McBeth with Daggers

Front 26

w

Back 26

Blake
engravings for
the feminist Mary Woolstonecraft’s book

Front 27

w

Back 27

Blake

Front 28

w

Back 28

Blake
relief etching
Death's Door

Front 29

w

Back 29

Blake
Infant Joy from Songs of Innocence

Front 30

w

Back 30

Blake
Book of Theil

Front 31

w

Back 31

Blake
The Red Dragon and the Beast of the Sea

Front 32

w

Back 32

Blake
The Whirlwind of Lovers from Dante’s Inferno

Front 33

Native of London. Showed talent early:
Academy schools 1789 (age 14)
First passion was architecture; early works
often architectural subjects

Back 33

Turner

Front 34

Although ultimately famous for oils,
a master of watercolor from earliest
years.

Back 34

Turner

Front 35

First exhibited an oil painting at R.A.
1796:

Back 35

Fishermen at Sea
Remarkable effect of backlit,
translucent waves.

Front 36

Turner’s diploma picture

Back 36

Dolbardan Castle

Front 37

habit of appending poetic text
to pictures – sometimes quoting from others,
sometimes what he wrote

Back 37

Turner

Front 38

“How awful is the silence of the waste
Where nature lifts her mountains to the sky
Majestic solitude, behold the tower
Where hopeless Owen, long imprison’d, pin’d,
And wrung his hands for liberty, in vain

Back 38

Turner

Front 39

often turned to mythic,
Biblical, or historical subjects, but emphasis rests with cataclysmic forces
expressed through light and color. Referred to

Back 39

Historical Colouring

Front 40

Historical Colouring

Back 40

historical” meaning expressive or referential

Front 41

Critics were merciless
and fellow artists
often harsh all his life:

“the Figures miserably
bad”

Back 41

Turner

Front 42

led
Turner to exhibit
almost exclusively
from a purpose-built
gallery in his own home
for several years.

Back 42

Feuds within
Academy

Front 43

“It is grievous to us to think of talent, so mighty and so poetical, running riot
into such frenzies; the more grievous, as we fear, it is now past recall.”

“Turner is stark mad with ability

Back 43

Constable

Front 44

One of Turner’s
own favorites.
In quieter mode,
much inspired
by French
Baroque artist

Back 44

Dido Building
Carthage

Front 45

I found in him a somewhat eccentric,
keen-mannered, matter-of-fact, English-minded-gentleman: good-natured evidently,
bad-tempered evidently, hating humbug of all sorts, shrewd, perhaps a little selfish, highly intellectual, the powers of his mind not brought
out with any delight in their manifestation,
or intention of display, but flashing out occasionally in a word or a look.”

Back 45

Ruskin met Turner
in person for the first time:

Front 46

w

Back 46

early Turner
King’s College Chapel, Cambridge

Front 47

w

Back 47

Turner
Fisherman at Sea

Front 48

w

Back 48

Dolbardan Castle Turner’s diploma picture

Front 49

w

Back 49

Turner
The Destruction of Sodom
Historical Colouring

Front 50

w

Back 50

Turner
Battle at Traflgar

Front 51

w

Back 51

Turner

Dido Building
Carthage
1815

Front 52

w

Back 52

Turner

Front 53

w

Back 53

Turner