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Turner before Monet

Turner before Monet

Joseph Mallord William Turner
The Burning of the Houses of Lords and Commons
16 October 1834, painted 1835.


In Cleveland for the holidays, M. and I walked through the galleries of the art museum, and stumbled upon Turner’s The Burning of the Houses of Lords and Commons, 16 October, 1834.

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If I’d seen it before, I’d entirely forgotten.  A painting of great power and intricacy.

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Turner one of those rare colorists who seems, to me, to have control within the color – especially here of red that really burns at the heart of the painting and of the expanding cloud of yellow and white.

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The color has shape and density, symmetry and modulation.  It is not so much that the painting seems to have a geometry as that the color, within itself, does.

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Monet knew Turner’s paintings and his admiration for them was part of his decision to go to London to do his three late series.  One would like to be sure that he had had adequate time with this particular picture, which seems to have a project related in an important way to his own.  Monet set the Houses of Parliament, the Thames before them, and the air above them in such a way that each could be transmuted into the others.  Turner and those with him along the banks of the Thames that night saw this happen.

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The night of the great fire, October 16, 1834, Turner worked all night, up and down the banks of the Thames sketching rapidly in watercolor, which was his habit.  One of these sketches is reproduced in a beautiful called Turner: Les Carnets de Dessins with text by William Gaunt.  Turner’s watercolors, the most wonderful I have ever seen, were his private work, and were not brought before the public until well into the 20th century.  Thus Monet, hurrying up and down the sides of the Thames desperate to catch his evanescent effects, never knew how close a ghostly colleague he had.


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Private Collection

Private Collection

Morisot, Clark Institute

A small watercolor by Berthe Morisot was the most surprising thing I saw on our trip to New York.  At the Frick, on loan from the Clark, in that basement space they use for special exhibitions and works on paper, in an assortment of drawings by French Impressionists.  The watercolor is of a dark boat floating in green water among other crafts – masts, bow, lines for sail and anchor, a few indistinct figures moving about their work.  Colors wonderful – shadows of boats reflecting darker green below, sense of movement, mass, buoyancy.  Apparently she drew while herself on a neighboring boat and relished the difficulty of getting the lines while she herself went up and down.  A much better draughtsman than I had realized, learning from Turner’s watercolors in ways that I’ve not seen others do, allowing the colors to make a structure. Who is she?  Berthe Morisot.  The images I know are of her, especially Manet’s portraits, not by her.  At the Met later that day four or five really wonderful paintings by Morisot as part of their “Impressionism and Fashion” exhibition.  The women in these paintings – reclining or sitting, looking in mirrors or at us – emerge out of a shaded and subtly modulated atmosphere.  The air itself is thick with paint that condenses in the figure.  Clothes are beautiful.  A manifestation of what animates their wearers.  These women have not been dressed, they dress themselves.   I had little time, but tried to look carefully at just these paintings, promising myself that I would spend more time with them one by one in the museums where they reside.  In the gift shop, quickly scanning the one book on Morisot, I saw to my disappointment that nearly all her work is in private collections.




 
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