Joseph Mallord William Turner

Note on Poetry and Painting (Inscriptions by Turner)

1809–11

In Tate Britain

Prints and Drawings Room

View by appointment
Artist
Joseph Mallord William Turner 1775–1851
Medium
Graphite on paper
Dimensions
Support: 185 × 116 mm
Collection
Tate
Acquisition
Accepted by the nation as part of the Turner Bequest 1856
Reference
D07591
Turner Bequest CX 45 a

Catalogue entry

These notes continue on folios 44 verso and 43 verso (D07589, D07587). For convenience they are set out in full here, as far as they are legible :
recollection or consideration, anxiously looking for the date | on armorial bearing which the good judgment of the painter | offended by throwing in shade, tho subsequent emblazoned | to give a ray of sunset or of ostentation to departing | spirit of the person and the artist the highest department | or that which arrives towards the Historical is that | where Landsc[ape] Portraits are united to Historical facts, not | those ..., worshipers of know[ledge]. Who could ......| the Ruins with the Augustus. Or Wilson ? or like Nero | strike of[f] the Head of the Gods to substitute his own. but | with a strict accordance to Historic facts is own | by ... the Fresco of la incendio by Raphael | which it has been questioned whether the artist wanted | not a better introduction than the Portrait of his Patron | Pius in a miraculous mythological or allegorical image | by following his own reflections. But Landscape which | was admitted in both departments of art seems to | sink by appearing too often or being considered | as a rebelling instead of an ally her power tho | frequently used are characteristically her own her | commonality should be above common life as | to convey the simplicity of pastoral ease, not | riot and debauchery incidental to low life and then | by characteristic; but combining the force of nature | and of truth . the community of landscape is thus | more ... of everyday occurance but where there are | more perceptive feelings of these everyday occurrances...[continued on folio 44 verso]...by one more than the other who has the book | of nature before his view with the words of the Poet of the Seasons
“To one be ever Nature’s volume be displayd
and happy to catch my inspirations theme
thankly some passage enraptured to translate”
but the translation will be a different tho drawn from | the same plank of nature as the pursuits study and | various conception and perception of that passage | combining the rules and beauties of words to the Poet | the unity of contending principles that may or may not | meet the impression to be delineated by the Painter than | drawing from the same source. Their sentiments contrast | professing of fullness of character and expression which | is delineation in one and description in the other, their | sentiments being frequently the same. Other their arts | require a very different way to elucidate their senti | ments, have given by long acceptance that the | Painters utmost need is to be poetical, follow the | Poet and define his descriptions. But his descriptions are | frequently above the Painters power and expression color | and line in description which is his delineation has such | merit must be drawn from attributes but the Painter | must be governed by sentiments contained in the | transcription of some happy, fleeting passage surpassing | all description and yet if the Painter succeeds he | is poetical “is conceived in true Poetic vein” but suffers no conception but his own perception thus regularly | combined, reproduces and expresses that which he cannot | express by words ... more the Poet could discover the colour | [continued on folio 43 verso] of his art without disturbing upon, those pursuits are | different tho they love and follow the same course | and have a mutual regard in admiration
1
Reynolds, ‘Discourse 14’, in Robert R. Wark ed., Discourses on Art: Sir Joshua Reynolds, New York 1969, p.224.

David Blayney Brown
August 2009

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