Joseph Mallord William Turner

Norham Castle: Colour Study

c.1798

In Tate Britain

Prints and Drawings Room

View by appointment
Artist
Joseph Mallord William Turner 1775–1851
Medium
Graphite and watercolour on paper
Dimensions
Support: 662 × 838 mm
Collection
Tate
Acquisition
Accepted by the nation as part of the Turner Bequest 1856
Reference
D02343
Turner Bequest L B

Display caption

As part of the process of painting the view of Norham that he exhibited at the Royal Academy in 1798 (no.41), Turner executed two large studies (nos.39 and 40), in which he set out the composition and experimented with alternative light effects. The backs of these sheets are prepared with washes of different pigments, and it seems that he was exploring the possibilities of achieving a suffused back lighting of the kind then popular in the fashion for transparencies.

Gallery label, September 2004

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Technique and condition

Catalogue entry

This is a study for the finished watercolour exhibited at the Royal Academy in 1798 (private collection),1 or perhaps for the second version of the subject (The Higgins Bedford);2 see also Tate D02344 (Turner Bequest L C). The technique in use here is similar to that of the ambitious Welsh studies of these years (compare Tate D01115; Turner Bequest XXXVI U), with prominent use of stopping-out and pencil employed only to give minimal indications of certain details.
This composition of Norham was to be used several times by Turner, in his Liber Studiorum series (see the entry for Tate D08158; Turner Bequest CXVIII D), for the Rivers of England (Tate D18148; Turner Bequest CCVIII O),3 and most famously for Norham Castle, Sunrise, a late reworking of the theme in oil, in terms of dazzling sunlight that almost obliterates the subject (Tate N01981).4 The slight pencil drawing on which it and D02344 (Turner Bequest L C) are both based is in the North of England sketchbook of 1797 (Tate D00966; Turner Bequest XXXIV 57). Turner made another rapid sketch of the same view when he revisited Norham in 1801; see the Helmsley sketchbook (Tate D02538–D02539; Turner Bequest LIII 44a–45).
1
Andrew Wilton, J.M.W. Turner: His Life and Work, Fribourg 1979, p.324 no.225.
2
Ibid., pp.324–5 no.226.
3
Ibid., p.385 no.736, pl.175 (colour).
4
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984, pp.301–2 no.512, pl.514 (colour).
Verso:
Blank

Andrew Wilton
January 2013

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