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US Turner: the man who painted the wind

06:00  16 june  2020
06:00  16 june  2020 Source:   parismatch.com

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In 1796, Turner exhibited Fishermen at Sea, his first oil painting for the academy, of a nocturnal moonlit scene of influence by artists such as Claude Joseph Vernet, Philip James de Loutherbourg, Peter Monamy and Francis Swaine, who was admired for his moonlight marine paintings.

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The Jacquemart-André museum presents an anthology of drawings and watercolors of English genius. An artist who did much more than tame light.

  Turner : l’homme qui peignait le vent © J.W Turner / Tate

He doesn't pose. We do not see him. Sometimes we hear it. Elsewhere, we are waiting for it. Nobody gives him orders. We don't know where he came from. Nothing stops it. He's an invisible bull. Or a little music that whispers in the ears of the trees. It goes everywhere and can cause chaos. Some fear his violence. Others are missing. Here it freezes you; there it warms you. Unlike the rain, the clouds, the stars, it promises nothing, announces nothing, does not fatten anything. It leaves no traces. He can spoil a paradise in the Antilles, as he can offer one to sailors begging him to approach. They alone "see" it. They and William Turner, when he was holding his watercolor brush in his hand.

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Light that vibrates: pure virtuosity

It was wrongly said that he painted light. It is reproduced by everyone. It’s the light bulb of the world. We only see her. She caresses the canvases, gives their colors to the landscapes, awakens life with its hues. Even a candle lights, no need for the sun. Before Turner, a Frenchman, Claude Gellée, known as Le Lorrain, had made it his specialty. In the exhibition at the Jacquemart-André museum, he could have signed certain paintings. Except that he came from the Vosges and had his eye on the mountains. He had learned that a landscape showed faults, peaks and cliffs. While Turner came from England. What he had before him was meadows or the sea. Nothing ever stood in the way. No relief, no peaks or passes but rain, mist, drizzle, fog, squalls and rainbows. Enough enough for the genius of a hand that suggested more than it described.

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God knows, however, that Turner drew well. And that he had watched the way of others closely. The first canvas in the exhibition, "View of the Avon Gorge", painted in 1791, reveals that he even knew Chinese painting. Yet what we discover are dozens of watercolors. Often preparatory work for large oil paintings. Field readings, glances, snapshots. And there, seized at the moment, surprised with large strokes of small light brushes like air, what we see is the wind. With almost no effect. Just a shudder of hues, a run, a roll of colored water. Light that vibrates. From the living void. That's wonderful. Pure virtuosity.

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This is interesting!