Joseph Mallord William Turner英国, 1775–1851The Loretto Necklace
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《The Loretto Necklace》现在在哪里？ 收藏方: 国家美术馆, 倫敦. 不明.
倫敦, 英国
所有者已知，目前是否展出尚不清楚。
- 此状态始于
- 出处
- 博物馆
关于这幅画
The Loretto Necklace is an 1829 landscape painting by the British artist J.M.W. Turner. It shows a view of the town of Loreto in the Italian province of Marche.
Turner had been on an extended visit to Rome during which he has produced several works. After arriving back in London and concerned that these paintings, still in transit, would not arrive in time for the Royal Academy's Summer Exhibition he produced a fresh work for the show. He produced a view of the town he had stopped in on his journey back from Rome.
It appeared at the 1829 academy exhibition at Somerset House along with another Turner work Ulysses Deriding Polyphemus. Today it isn the collection of the Tate Britain having been part of the Turner Bequest in 1856.
作品信息
- 馆藏编号
- NG509
已收入目录
出处
- 维基数据
- 图片： 国家美术馆 — J. M. W. Turner · Public domain · Wikimedia Commons
Joseph Mallord William Turner当时的生活
完整生平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.
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.
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.
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”.
