Joseph Mallord William Turner

Dinant, on the Meuse, from the South

c.1839

View this artwork by appointment, at Tate Britain's Prints and Drawings Rooms

Medium
Gouache and watercolour on paper
Dimensions
Support: 139 x 192 mm
Collection
Tate
Acquisition
Accepted by the nation as part of the Turner Bequest 1856
Reference
D24724
Turner Bequest CCLIX 159

Display caption

Turner is unlikely to have coloured these views of Dinant on the spot. Yet, as other examples in this display also demonstrate, he often made a number of colour studies of a site from much the same viewpoint, transforming the basic scene by varying the type of light falling over it. On this occasion his studies seem to have been undertaken to explore the way sunset light transforms how the eye perceives the colours of shadows. The use of the deep mauve unifies the silhouetted form of the rock and fortress above Dinant. A fuller investigation of this phenomenon was undertaken by the Impressionists somewhat later in the century.

Gallery label, August 2004

Catalogue entry

Rendered in an arresting spectrum of colour, this view of Dinant in Belgium is one of the most evocative and impressionistic of Turner’s 1839 gouaches. The light is iridescent, shifting between hues of lemon yellow, blued yellow, and rose pink.
Dinant’s arched bridge stands at centre, connecting the two banks of the Meuse. The structure appears almost spectral, rendered with watercolour wash on wetted paper. The fluid pigment used to draw the piers of the bridge has migrated slightly, bleeding and feathering, in a manner which evokes the optical phenomenon of a mirage.
The hillsides flanking the Meuse are rendered with more opaque pigment: violet, rust-brown gouache streaked with red in the foreground. The citadel, which dates from 1530 and was rebuilt in 1821 during the Dutch occupation, can be seen crowning the vertiginous cliff at the right in gloomy silhouette. The Rocher Bayard, a forty-metre monolith, is beneath it.
Turner sketched extensively at Dinant, recording its monuments from various perspectives. From the numerous pencil sketches in the Spa, Dinant, and Namur sketchbook of c.1839 (Tate D28042, D28094, D28122, D28125, D28142, D28147, D28153, D28155–D28158, D28160–D28166, D41091; Turner Bequest CCLXXXVII 1, 27a, 42a, 44a, 53, 56a, 59a, 60a–62a, 63a–66a), the artist produced six impressive gouache drawings (those belonging to Tate are: Tate D20227–D20229; Turner Bequest CCXX T, U, V).1
1
See also Powell 1991, pp.160–1 no.97 or Andrew Wilton, J.M.W. Turner: His Life and Work, Fribourg 1979, p.421 no.1026), 162 no.100, 163 no.102.
Verso:
There are very faint markings in chalk at the bottom of the page which appear to be rough sketches of two small boats, inverted. The verso is also inscribed in pencil ‘CCLIX 159’ at bottom right.

Alice Rylance-Watson
June 2013

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