The Evening Star, J. M. W. Turner, 1830
Joseph Mallord William Turnerの肖像Joseph Mallord William Turnerイギリス, 1775–1851

The Evening Star

1830 · Painting · 92.5 × 123 cm

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ナショナル・ギャラリー

ロンドン, イギリス

所蔵者は判明していますが、現在展示中かどうかは不明です。

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出典
美術館

この絵画について

The Evening Star is an 1830 landscape painting by the British artist J.M.W. Turner. It features a coastal scene on a beach with a boy with a shrimping net wading out of the water to be greeted by his dog. It gained its title several decades after Turner painted it due to the presence of a single star visible in the sky.

The painting was exhibited with other works by Turner at the Tate Gallery in 1906, where critics compared it to more recent works by James McNeill Whistler. It is in the possession of the National Gallery in London, having been part of the Turner Bequest of 1856.

ウィキペディアCC BY-SA

作品データ

収蔵番号
NG1991

カタログ収録

出典

  • ウィキデータ
  • 画像: ナショナル・ギャラリー — J. M. W. Turner · Public domain · Wikimedia Commons

その頃、Joseph Mallord William Turnerの人生では

生涯をすべて見る
  1. 1820s

    Print series for publishers

    In the 1820s he worked on several topographical print commissions: “Picturesque Views on the Southern Coast of England” (1814–1826) and “The Rivers of England” (1822–1826) for the Cooke brothers, “Picturesque Views in England and Wales” (1824–1838) for Charles Heath and “The Ports of England” (1825–1828) for Thomas Lupton.

  2. 1829

    The death of his father

    His father, who had lived with him for thirty years and worked as an assistant in his studio, died in 1829; the loss strongly affected Turner, who began to suffer fits of depression afterwards, and he finally abandoned his own gallery.

  3. 1829

    Paris, Normandy and Brittany

    In the twenty-year period from 1821 to 1844 he visited several European countries, studying the old masters and taking long hikes into the countryside: in 1829 Paris, Normandy and Brittany, and three years later Paris for the second time.

  4. 1830–1840s

    Criticism in the 1830s–1840s and Ruskin’s defence

    His innovative works, bordering on abstraction, gave him a reputation for madness: the Victorian public preferred realism and sentimentality, and Queen Victoria refused to knight him. John Ruskin came to his defence, calling him “the greatest artist of all time”.

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