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It has been proposed that the sequence between folios 1 recto and 12 verso (D28874–D28886) ‘form a series of studies narrating an erotic adventure’ as distinct from other ‘studies on similar themes throughout the book’.1 There may be a case for extending or shortening this range slightly – Raphael Rosenberg has suggested that it ends at folio 11 recto (D28885),2 after the throes of passion – but in principle this seems likely, as some of the scenes are more conventionally pictorial and carefully defined by drawing with the brush (albeit sometimes sexually explicit) than the often rather rough, undeveloped washes later on. Jack Lindsay has imagined them as ‘the record of an episode at an inn (on the Rhine, perhaps). A set of delightful little paintings show a servant-girl undressing, a couple tumbling in the large bed, compositions derived from their embraces, and what are almost pure effects of colour and light derived from the experience.’3
Whatever Turner’s overall idea may have been, here the exact juxtaposition of the naked man and woman is difficult to make out as their pale forms seem to dissolve into each other at the edge of a curtained bed. The man’s robust profile is indicated in pencil, which is otherwise reserved here largely to outline a nipple and genitals; compare the pencil work on folios 4 recto and 6 recto (D28877, D28879).
For a discussion of the improvisatory and often erotic nature of the watercolour studies making up most of this sketchbook, see the Introduction.
Wilton 1974, p.126; see also Andrew Wilton in John Gage, Jerrold Ziff, Nicholas Alfrey and others, J.M.W. Turner, à l’occasion du cinquantième anniversaire du British Council, exhibition catalogue, Galeries nationales du Grand Palais, Paris 1983, p. under no.173.
See Rosenberg 2007, p.327 note 23.
Jack Lindsay, J.M.W. Turner: His Life and Work: A Critical Biography, London 1966, p.161.
Blank, save for slight offsetting of watercolour from folio 10 recto opposite (D28884).