In the work of Joseph Mallord William Turner (1775-1851) lies an impact akin to a sudden acquisition of sight. His landscapes and seascapes scorch the eye with such ravishing light and color, with such elemental force, it is as if the sun itself were gleaming out of the frame.
Appropriately known as “the painter of light”, Turner worked in print, watercolor, and...
In the work of Joseph Mallord William Turner (1775-1851) lies an impact akin to a sudden acquisition of sight. His landscapes and seascapes scorch the eye with such ravishing light and color, with such elemental force, it is as if the sun itself were gleaming out of the frame.
Appropriately known as “the painter of light”, Turner worked in print, watercolor, and oils to transform landscape from serene contemplative scenes to pictures pulsating with life. He anchored his work to the River Thames and to the sea, but in the historical context of the Industrial Revolution, also integrated boats, trains, and other markers of human activity, so as to juxtapose the thrust of civilisation against the forces of nature.
This book covers Turner's illustrious, wide-ranging repertoire to introduce an artist who combined a traditional genre with a radical modernism.
Basic Art was born back in 1985 with the very first original TASCHEN publication: Picasso. Since then, the series has evolved into the best-selling art book collection ever published, offering succinct slimline artist introductions across 200 titles, translated into some 20 languages.
For its 30th anniversary, we have given this much-loved series a makeover: Basic Art 2.0, freshly designed, revised, and hardcover bound, but still with the same rock-bottom price tag!
Michael Bockemühl (1943–2009) studied art history, philosophy and ecclesiastical history in Munich and Bochum. He qualified as a professor in 1984 at the Ruhr University, and lectured in the history of the art of Late Antiquity, the Middle Ages and the early modern age. In 1990 he was awarded a chair in the science of art, aesthetics and art education by Witten/Herdecke Univers...
Michael Bockemühl (1943–2009) studied art history, philosophy and ecclesiastical history in Munich and Bochum. He qualified as a professor in 1984 at the Ruhr University, and lectured in the history of the art of Late Antiquity, the Middle Ages and the early modern age. In 1990 he was awarded a chair in the science of art, aesthetics and art education by Witten/Herdecke University. His TASCHEN monographs include Rembrandt (1991) and William Turner (1991).
P6 Observation -a method of approach
P8 Early days- expertise becomes evident
P28 Completed structure becomes open form
P48 The artist's world: mental conception and pictorial realization
P66 The open picture and its manifestation
P82 The "open secret of colour
· · · · · ·
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P6 Observation -a method of approach
P8 Early days- expertise becomes evident
P28 Completed structure becomes open form
P48 The artist's world: mental conception and pictorial realization
P66 The open picture and its manifestation
P82 The "open secret of colour
P94 M. W. Turner 1775-1851 Life and work
· · · · · · (收起)
Extensive research has been conducted into Turner's life, enabling the wealth of his creative output to be placed in perspective. The question remains, however, as to how he developed a style of painting through which both nature and art could reveal themselves in a new way. A conscious understanding of the complex effect produced by Turner’s pictures requires one to take into consideration a multitude of factors. This effect is anything but a matter of course. It presupposes a complex interaction of creative possibilities in art, something which he achieved through various means in the course of his creative activity. His later pictures are intended purely for the eye, and their comprehension depends on a conscious understanding of the manner in which they disclose themselves to the eye. ... (查看原文)
Turner’s work cannot be reproduced. Even the best print only serves to awaken one’s curiosity about the original. The fundamental significance attached both to nuances of colour and structure and to the fine differences between the traces of pen or brush, whether pronounced or merely fleetingly applied, is particularly great in the context of Turner’s art. The immediacy of the often exceptionally fine glazing layers of colour, of the fleeting or striking nature of the drawings, can only be observed directly from the material. This may take the form of paper, as used in the sketches, sometimes given a preliminary coating, subsequently scratched out with a thumbnail, intentionally crumpled up and smoothed out again, and often rolled up in a portmanteau; or we may be concerned here with the s... (查看原文)
仪岚
北京美术摄影出版社2017版
0 有用 Paranoia。 2018-07-19 00:46:46
一眼入坑 梦幻般的光与色彩 （事实证明无论有多少字的说明我还是只会当作画册来看……
0 有用 路德维希 2022-12-24 14:10:25 浙江
Turner比较复杂。
0 有用 Halfalice 2023-04-17 03:09:14 四川
他不是天才谁是？
3 有用 陳若望 2016-11-23 00:16:55
以後可能要入Turner和Taschen畫冊的坑了
0 有用 vee 2016-08-02 12:55:22
年轻时就已经对色彩有天才的操控 中晚年作品有惊人的色彩 魔幻 一定要去Tate慢慢看才能领略