Turner and the Masters
23 Sep 2009 - 31 Jan 2010
JMW Turner
Rome, from the Vatican. Raffaelle, Accompanied by La Fornarina, Preparing his Pictures for the Decoration of the Loggia exh 1820
Tate
Rome, from the Vatican. Raffaelle, Accompanied by La Fornarina, Preparing his Pictures for the Decoration of the Loggia exh 1820
Tate
TURNER AND THE MASTERS
23 September 2009 – 31 January 2010
Featuring world-class masters such as Canaletto, Claude, Poussin, Rembrandt, Rubens and Titian, this magnificent show explores how Turner hoped to imitate, rival and outshine many of the greatest painters in history.
In the first exhibition of its kind, this show pairs some of Turners’ greatest paintings with outstanding works by old masters, as well as contemporaries such as Constable and Bonington, to reveal his debts and rivalries in exciting, even unpredictable, ways. This is a truly unique opportunity to understand how Turner established and maintained his reputation as one of the greatest painters of landscape in the European tradition.
It was Turner’s approach, almost uniquely within the history of European art, to enter into direct competition with artists - both past and present - he considered as worthy rivals to his own fame. Turner built his reputation as an oil painter by challenging the works of old masters, deliberately producing paintings that could hang in their company. Often admired as an independent genius, he was in fact deeply engaged with the works of other artists.
Many works will be reunited for the first time after decades of separation and others have never been seen together before in this light.
Supported by McKinsey & Company
23 September 2009 – 31 January 2010
Featuring world-class masters such as Canaletto, Claude, Poussin, Rembrandt, Rubens and Titian, this magnificent show explores how Turner hoped to imitate, rival and outshine many of the greatest painters in history.
In the first exhibition of its kind, this show pairs some of Turners’ greatest paintings with outstanding works by old masters, as well as contemporaries such as Constable and Bonington, to reveal his debts and rivalries in exciting, even unpredictable, ways. This is a truly unique opportunity to understand how Turner established and maintained his reputation as one of the greatest painters of landscape in the European tradition.
It was Turner’s approach, almost uniquely within the history of European art, to enter into direct competition with artists - both past and present - he considered as worthy rivals to his own fame. Turner built his reputation as an oil painter by challenging the works of old masters, deliberately producing paintings that could hang in their company. Often admired as an independent genius, he was in fact deeply engaged with the works of other artists.
Many works will be reunited for the first time after decades of separation and others have never been seen together before in this light.
Supported by McKinsey & Company