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The EY Exhibition: Late Turner – Painting Set Free
Tate Britain: Exhibition
10 September 201425 January 2015

Adult £16.50 (without donation £15.00)
Concession £14.50 (without donation £13.10)
Help Tate by including the voluntary donation to enable Gift Aid
Additional booking fee of £1.75 (£2 via telephone) per transaction applies
Under 12s go free (up to four per parent or guardian) 
 

The exhibition is popular, particularly at weekends where there may be a wait of up to 1 to 2 hours with timed entry. We strongly recommend booking in advance. This can be done up to 8 hours in advance online and up to 24 hours by telephone.

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  • Joseph Mallord William Turner, 'Ancient Rome; Agrippina Landing with the Ashes of Germanicus' exhibited 1839

    Joseph Mallord William Turner
    Ancient Rome; Agrippina Landing with the Ashes of Germanicus exhibited 1839
    Oil on canvas
    support: 914 x 1219 mm frame: 1230 x 1530 x 140 mm
    Accepted by the nation as part of the Turner Bequest 1856

    View the main page for this artwork

  • Joseph Mallord William Turner, 'Returning from the Ball (St Martha)' exhibited 1846

    Joseph Mallord William Turner
    Returning from the Ball (St Martha) exhibited 1846
    Oil on canvas
    support: 616 x 924 mm frame: 888 x 1195 x 120 mm
    Accepted by the nation as part of the Turner Bequest 1856

    View the main page for this artwork

  • Joseph Mallord William Turner, 'Goldau, with the Lake of Zug in the Distance: Sample Study' circa 1842-3

    Joseph Mallord William Turner
    Goldau, with the Lake of Zug in the Distance: Sample Study circa 1842-3
    Pencil, watercolour and pen on paper
    support: 228 x 290 mm
    Accepted by the nation as part of the Turner Bequest 1856

    View the main page for this artwork

  • Joseph Mallord William Turner, 'Fishermen on the Lagoon, Moonlight' 1840

    Joseph Mallord William Turner
    Fishermen on the Lagoon, Moonlight 1840
    Watercolour on paper
    support: 192 x 280 mm
    Accepted by the nation as part of the Turner Bequest 1856

    View the main page for this artwork

  • Joseph Mallord William Turner, 'Regulus' 1828, reworked 1837

    Joseph Mallord William Turner
    Regulus 1828, reworked 1837
    Oil on canvas
    support: 895 x 1238 mm frame: 1135 x 1460 x 93 mm
    Accepted by the nation as part of the Turner Bequest 1856

    View the main page for this artwork

  • Joseph Mallord William Turner, 'Peace - Burial at Sea' exhibited 1842

    Joseph Mallord William Turner
    Peace - Burial at Sea exhibited 1842
    Oil on canvas
    support: 870 x 867 mm frame: 1110 x 1109 x 115 mm
    Accepted by the nation as part of the Turner Bequest 1856

    View the main page for this artwork

  • Joseph Mallord William Turner, 'The Departure of the Fleet' exhibited 1850

    Joseph Mallord William Turner
    The Departure of the Fleet exhibited 1850
    Oil on canvas
    support: 899 x 1203 mm
    Accepted by the nation as part of the Turner Bequest 1856

    View the main page for this artwork

  • Joseph Mallord William Turner, 'The Visit to the Tomb' exhibited 1850

    Joseph Mallord William Turner
    The Visit to the Tomb exhibited 1850
    Oil on canvas
    support: 914 x 1219 mm frame: 1230 x 1535 x 150 mm
    Accepted by the nation as part of the Turner Bequest 1856

    View the main page for this artwork

  • Joseph Mallord William Turner, 'The Blue Rigi, Sunrise' 1842

    Joseph Mallord William Turner
    The Blue Rigi, Sunrise 1842
    Watercolour on paper
    support: 297 x 450 mm
    Purchased with assistance from the National Heritage Memorial Fund, the Art Fund (with a contribution from the Wolfson Foundation and including generous support from David and Susan Gradel, and from other members of the public through the Save the Blue Rigi appeal) Tate Members and other donors 2007

    View the main page for this artwork

The EY Exhibition: Late Turner – Painting Set Free is the first exhibition devoted to the extraordinary work J.M.W. Turner created between 1835 and his death in 1851. Bringing together spectacular works from the UK and abroad, this exhibition celebrates Turner’s astonishing creative flowering in these later years when he produced many of his finest pictures but was also controversial and unjustly misunderstood.

Highlights of the exhibition include such important pictures as Ancient Rome; Agrippina Landing with the Ashes of Germanicus and Modern Rome – Campo Vaccino, rarely reunited since first exhibited together in 1839; The Wreck Buoy 1849; and magnificent watercolours like Heidelberg: Sunset c.1840 and the seldom-seen Bamburgh Castle, Northumberland c.1837.

The show also brings together major series of works including a group of unusual square pictures, casting a light on Turner’s innovative techniques. Newly identified watercolours of a fire at the Tower of London in 1841 are shown with the spectacular painting Burning of the Houses of Lords and Commons 1835 and the exhibition concludes with Turner’s last exhibited pictures from 1850, depicting the classical lovers Dido and Aeneas. It is a panoramic survey of a bountiful and significant period of exceptional energy and vigour, maintained despite failing health.

By taking a fresh look at Turner’s late works, the exhibition sheds new light on his life and art. Challenging the myths, assumptions and interpretations that have grown around his later work, it reveals a painter as distinguished by the broad scope of his knowledge and imagination as he was by his radical and exploratory techniques, processes and use of materials. As much as he brought renewed energy to the exploration of the social, technological and scientific developments of modern life, in such icons of the machine age as Rain, Steam, and Speed – The Great Western Railway 1844, he remained as deeply engaged with the religious, historical or mythological themes that linked him to the cultural traditions of his era.

John Ruskin’s description of Turner as ‘the greatest of the age’ is brought to life amongst the many large-scale oil paintings, drawings, prints and watercolours on display at The EY Exhibition: Late Turner – Painting Set Free, an unmissable exhibition that will redefine ideas of one of Britain’s greatest and best-loved painters.

Here at last is the Turner who matters – the man who invented modern painting.
Jonathan Jones, The Guardian

This is sensational, the best of the very many Turner shows I’ve seen.
Ben Luke, Evening Standard

A wonderful show.
The Independent

Glorious.
Peter Conrad, The Observer

*****
Time Out

*****
The Guardian

Curated by Sam Smiles, Professor of Art History and Visual Culture, Exeter University, with David Blayney Brown, Manton Curator of British Art 1790–1850, Tate Britain and Amy Concannon, Assistant Curator 1790–1850, Tate Britain.