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https://www.wsj.com/articles/turner-smodern-world-museum-of-fine-arts-boston-j-m-w-turner-industrial-revolution-fighting-temeraire-battle-of-trafalgar-houses-of-parliament-11648246669


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‘TURNER’S MODERN WORLD’ REVIEW: A PAINTER’S MANY HIGH WATER MARKS


AT THE MUSEUM OF FINE ARTS, BOSTON, AN EXHIBITION LOOKS AT THE ARTIST’S
RESPONSES TO THE MASSIVE CHANGES WROUGHT BY THE INDUSTRIAL REVOLUTION.

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JOSEPH MALLORD WILLIAM TURNER’S ‘KEELMEN HEAVING IN COALS BY MOONLIGHT’ (1835)

Photo: National Gallery of Art, Washington/Museum of Fine Arts, Boston
By Karen Wilkin
March 26, 2022 7:00 am ET

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Boston

Joseph Mallord William Turner is an institution, admired in his lifetime and
today with a wing of Tate Britain dedicated to the vast number of works he
bequeathed to the nation. “The Fighting Temeraire, Tugged to Her Last Berth to
Be Broken Up” (1839, National Gallery, London) his image of an obsolete
man-o-war, sails furled, maneuvered by a steamboat against a setting sun,
repeatedly leads “my favorite painting” polls in Britain. He was equally famous
in the United States. In Louisa May Alcott’s “Little Women,” not a book aimed at
specialists, the artistic sister, Amy, attempts to paint a Turner sunset. And
some of his most important canvases were acquired by Americans.

Turner’s Modern World

Museum of Fine Arts, Boston
March 27-July 10

Born in Georgian England in 1775 and dying in 1851, during Victoria’s reign,
Turner lived through the American Revolution, the French Revolution, the age of
Napoleon, Waterloo, and the expansion of the British Empire. More significantly,
his lifetime encompassed the social, political, and technological upheavals of
the Industrial Revolution, as coal-powered steam engines transformed
transportation and manufacturing in country newly laced together by railroads,
filling the air with soot, and offering Turner an important visual motif. Now
“Turner’s Modern World,” organized by Tate Britain, with the Kimbell Art Museum
and the Museum of Fine Arts, Boston, (seen earlier in London and Fort Worth,
Texas) examines the artist’s response to these changes.

JOSEPH MALLORD WILLIAM TURNER’S ‘THE BATTLE OF TRAFALGAR, AS SEEN FROM THE MIZEN
STARBOARD SHROUDS OF THE VICTORY’ (1806-08)

Photo: Tate Britain/Museum of Fine Arts, Boston

Contradictions and surprises abound. The large, vigorous “Fall of the Rhine at
Schaffhausen” (1805-06) dominates a gallery of early work, suggesting that
Turner could have profitably concentrated on landscapes untouched by modern
interventions. His preference for more timely subject matter is attested to by
scenes of dockyards, glowing lime kilns and forges, and a pier in Brighton, as
well as shipwrecks, the Battle of Trafalgar, the aftermath of the Battle of
Waterloo, and the burning of the Houses of Parliament. Turner experienced some
of these events; others he constructed from descriptions, interviews with
witnesses, and, for paintings of Battle of Trafalgar, a visit to Nelson’s
flagship Victory while she was being repaired.

JOSEPH MALLORD WILLIAM TURNER’S ‘FALL OF THE RHINE AT SCHAFFHAUSEN’ (1805-06)

Photo: Museum of Fine Arts, Boston

Rich color, theatrical light effects and daring paint handling—from
incrustations to transparent washes—convey drama as much as specific images do.
The blazing Parliament buildings are subsumed by a sweep of pale ochre and
orange, a radiant equivalent of flames and reflection. A royal banquet scene
dissolves into expanses of red livery and golden washes punctuated by a fragile,
dotted chandelier. We often have to work to find the main event, such as the
dying Nelson, a small figure, collapsed on the crowded deck of the Victory.

JOSEPH MALLORD WILLIAM TURNER’S ‘SLAVE SHIP (SLAVERS THROWING OVERBOARD THE DEAD
AND DYING, TYPHON COMING ON)’ (1840)

Photo: Museum of Fine Arts, Boston

A gallery evocative of the multilevel installations at the Royal Academy and at
Turner’s own gallery concentrates on themes of war and peace. Depictions of
carefully itemized redcoats coexist with broadly painted meditations on
qualities of light, such as the grim, deeply shadowed “The Field of Waterloo”
(1818), in which piled bodies are revealed by torchlight as women search for
survivors. Turner’s works are sometimes so disparate that it is hard to believe
they are by the same artist, but they served different purposes: pleasing
patrons, competing for royal favor, demonstrating his imagination and
adventurousness.



JOSEPH MALLORD WILLIAM TURNER’S ‘THE FIELD OF WATERLOO’ (1818)

Photo: Tate Britain/Museum of Fine Arts, Boston

The heart of the show bears witness to Turner’s increasing liberalism and his
sympathy with England’s burgeoning abolitionist movement. The glowing “Slave
Ship (Slavers Throwing Overboard the Dead and Dying, Typhon Coming On)” (1840)
is a ferocious indictment of a brutal practice, but it takes a moment to get
past the gorgeous light and subtly varied surfaces to discover the hands and
(improbably floating) manacles in the waves, amid oddly sinister fish. (A
thoughtful discussion on video nearby, which includes the responses of black
artists, contextualizes the painting.) Originally owned by the critic John
Ruskin, Turner’s champion and executor, “Slave Ship” was purchased by an
American and has been at the MFA since 1876. It is prefigured by the unfinished,
roiling “A Disaster at Sea (Wreck of the Amphitrite)” (c. 1835), provoked by the
drowning of almost everyone on a ship bound for Australia—female convicts, their
children, crew—when it ran aground and the captain, fearful that his cargo would
escape, refused offers of rescue.

JOSEPH MALLORD WILLIAM TURNER’S ‘THE BURNING OF THE HOUSES OF LORDS AND COMMONS’
(1835)

Photo: Cleveland Museum of Art/Museum of Fine Arts, Boston

“Unfinished” is a crucial word. Some late oils and watercolors are so minimal
that, for today’s viewers, they read as abstractions. But the sparse watercolors
were private studies, complete for Turner’s purposes, but never intended for
exhibition. The most stripped-down canvases are unfinished disquisitions on
massing and light. Had Turner sent them to the Royal Academy for showing, he
would have added detail on Varnishing Day—before the galleries opened to public.
Yet he exhibited others almost as radical, such as “Snow Storm off a Harbour’s
Mouth” (1842), an explosion of spiraling darks and lights that erases the
distinction between water and sky, wrenching itself out of its era. The variety
of paint applications anticipates Gustave Courbet ; the atmosphere, James
McNeill Whistler ; the composition, Abstract Expressionism.

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“Turner’s Modern World” is illuminating and beautifully installed. Don’t miss
it.

—Ms. Wilkin is an independent curator and critic.

Copyright ©2022 Dow Jones & Company, Inc. All Rights Reserved.
87990cbe856818d5eddac44c7b1cdeb8

Appeared in the March 28, 2022, print edition as 'A Painter’s Many High Water
Marks.'




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