Past

Turner in January 2012

  • 1st − 31st January 2012 | Scottish National Gallery

Edinburgh

Vaughan’s decision to ensure that part of his collection should go to Edinburgh may have been prompted by knowledge that although Turner visited Scotland on six occasions, and these experiences were a source of profound inspiration to him, his work was very poorly represented there.

The exhibition of the Vaughan Bequest of Turner’s drawings and watercolours every January since 1900 has become an extraordinarily popular event, which lifts the spirits during the dark days of an Edinburgh winter. His works have also formed the basis of a growing collection, as they have undoubtedly prompted important subsequent gifts. These, along with major acquisitions, such as Turner’s spectacular watercolour Ball Rock Lighthouse and two illustrations he made for Scott’s provincial Antiquities and Picturesque Scenery of Scotland, mean that the National Gallery of Scotland is now a vital stop for any admirer of the artist’s work.

Next: Major new acquisition

Turner combines the translucency of pure watercolour with opaque body-colour to convey the dazzling fusion of light and mountain mist enveloping the scene. Architecture and mountains appear to emerge from and dissolve back into the atmospheric vapour. It is possible that Turner worked on this during or just after his return from his second visit to Switzerland in 1836. He was accompanied on the trip by his friend and patron Hugh Munro of Novar, a young Scottish landowner and amateur painter.

Sion, Capital of the Canton Valais Joseph Mallord William Turner

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A soft, hazy light enhances the sense of space and the grandeur of the mountains and river valley. Warm watercolour washes define the physical character of the mountains, contrasting effectively with the cooler hues of the water. The bridge across the river and the suggestion of a settlement on top of the smaller mountain on the left hint at man's presence, but also underline his insignificance in relation to the elemental forces of nature. The precise location has not been identified but this work relates to other sketches Turner made in the Rhône Valley in 1836.

Sion, Rhone (or Splugen) Joseph Mallord William Turner

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Turner used rags and sometimes old bread to sponge and scrape paint off paper to achieve the desired effects of light and mist. Here he conveys the grandeur of the Italian Alpine range in relation to the strategically positioned castle and other buildings in the valley. Although their construction and that of the road which links them and the bridge spanning the river represent a considerable human achievement, they also serve to emphasise the insignificance of man-made structures in comparison to those of nature. This view is based on several sketches made in 1836.

Chatel Argent, in the Val d'Aosta, near Villeneuve Joseph Mallord William Turner

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Alpine peaks and glacial valleys provided Turner with perfect subjects for exploring the effects of coloured light through atmospheric mist. He seized the full potential of watercolour to evoke the magnificent scale and natural splendour of the Swiss scenery. This work was probably made sometime around 1836, during his first visit when touring France, Switzerland and the Val d'Aosta, when he was accompanied by the young Scottish landowner, amateur painter and enthusiastic patron, Hugh Munro of Novar.

Monte Rosa (or the Mythen, near Schwytz) Joseph Mallord William Turner

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