Joseph Mallord William Turner

Sketches of Two Paintings by Claude from the Barberini and Sciarra Collections, Rome

1819

Image released under Creative Commons CC-BY-NC-ND (3.0 Unported)

License this image

In Tate Britain

Prints and Drawings Room

View by appointment
Artist
Joseph Mallord William Turner 1775–1851
Part of
Remarks (Italy) Sketchbook
Medium
Dimensions
Support: 115 x 94 mm
Collection
Tate
Acquisition
Accepted by the nation as part of the Turner Bequest 1856
Reference
D16848
Turner Bequest CXCIII 80

Catalogue entry

The two sketches on this page were identified by Jerrold Ziff as copies of paintings by Claude Lorrain (circa 1604/5–1682), the seventeenth-century French landscapist who was the artist Turner most admired.1 Both pictures were seen in Rome.
a.
The upper study represents Pastoral Landscape with Castel Gandolfo, 1639 (Fitzwilliam Museum, Cambridge), formerly in the Palazzo Barberini.2 Turner accompanied his schematic copy with detailed notes describing the painting’s colouring and effects, see folios 97 and 96 (Tate D16870 and D16868; Turner Bequest CXCIII 96 and 95), and this close attention to the picture has been seen to have influenced the composition and colouring of his later watercolour,3 Lake Albano 1828 (private collection).4 For example, the figure annotated as ‘Blue’ in the right-hand foreground of Claude’s landscape is matched by the blue skirt of the contandina found in a corresponding position in Turner’s watercolour.5 For a fuller discussion see folio 97 (D16870; Turner Bequest CXCIII 96).
b.
The lower sketch, meanwhile, depicts Landscape with the Port of Santa Marinella circa 1639–1640 (Petit Palais, Paris), formerly in the collection of Prince Maffeo Barberini Colonna di Sciarra.6 Turner wrote a short note relating to the work on folio 95 (D16866; Turner Bequest CXCIII 94) in which he identified it as the ‘Chara Claude’. Ian Warrell has discussed how the artist later echoed the compositional structure of the tower, trees and curving bay within his own pictorial variations, for example a pencil study for a picture in the King’s Visit to Scotland sketchbook, circa 1819–21 (Tate D17666; Turner Bequest CC 89), and an oil study of a French scene (Tate, N02992).7
Claude was the artist most consistently in Turner’s thoughts during his Italian travels and his name is frequently invoked within on-the-spot landscape sketches. Turner was clearly making a direct comparison between the French painter’s pictorial vision of Italy and his own experience of it.8 He was also keen to view at first-hand as much of the seventeenth-century master’s work as possible. In addition to the two pictures from the Barberini and Sciarra collections, he also sketched paintings in the Palazzo Doria-Pamphili and the Palazzo Pallavicini-Rospigliosi, Rome, see folios 81 verso–82 (D16849–D16850; Turner Bequest CXCIII 80a–81), as well as in the Uffizi, Florence (see Rome and Florence sketchbook, Tate D16585; Turner Bequest CXCI 60). Powell has discussed how his division of pages in the Remarks (Italy) sketchbook resembles that of his earlier copies of Claude’s works in the Fonthill sketchbook, 1804 (see Tate D41265; Turner Bequest XLVII 19a).9

Claude conceived Pastoral Landscape with Castel Gandolfo and Landscape with the Port of Santa Marinella as a pair and their unusual octagonal format may have influenced Turner’s use of a similar shape for his later pendants, Peace – Burial at Sea exhibited 1842 (Tate, N00528), and War. The Exile and the Rock Limpet exhibited 1842 (Tate, N00529).10

Nicola Moorby
March 2011

1
See Ziff 1965, p.62.
2
Reproduced Powell 1987, p.129, fig.136 and Warrell 2002, p.197 no.46.
3
See Powell 1984, pp.262–3, Powell 1984, pp.23–4, and Powell 1987, p.127.
4
Andrew Wilton, J.M.W. Turner: His Life and Work, Fribourg 1979, no.731; see Powell 1984, pp.262–3, Powell 1984, pp.23–4, Powell 1987, p.127 and Warrell 2002, p.197 no.79.
5
Powell 1987, p.127.
6
Reproduced Warrell 2002, p.109, ill.47.
7
See Warrell 2002, pp.193 under no.50, 194 no.54, reproduced, and 195 no.64, reproduced.
8
See Powell 1987, pp.[67]–8.
9
Powell 1984, p.160.
10
See Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984, p.248 under no.399.

Read full Catalogue entry

Explore

You might like

Left Right
Joseph Mallord William Turner, ‘Five Sketches from Paintings by Claude Lorrain’ ?1804

Joseph Mallord William Turner Five Sketches from Paintings by Claude Lorrain

?1804
View by appointment
Joseph Mallord William Turner, ‘Sketches of Four Paintings by Claude in the Palazzo Doria-Pamphili, Rome’ 1819

Joseph Mallord William Turner Sketches of Four Paintings by Claude in the Palazzo Doria-Pamphili, Rome

1819
View by appointment
Joseph Mallord William Turner, ‘Sketches of Three Paintings by Claude in the Palazzo Pallavicini-Rospigliosi, Rome’ 1819

Joseph Mallord William Turner Sketches of Three Paintings by Claude in the Palazzo Pallavicini-Rospigliosi, Rome

1819
View by appointment
Joseph Mallord William Turner, ‘Sketches and Notes Relating to Paintings in the Galleria Borghese, Rome’ 1819

Joseph Mallord William Turner Sketches and Notes Relating to Paintings in the Galleria Borghese, Rome

1819
View by appointment
Joseph Mallord William Turner, ‘Studies from Claude in the Louvre’ 1821

Joseph Mallord William Turner Studies from Claude in the Louvre

1821
Joseph Mallord William Turner, ‘Notes and Sketch Relating to Claude Lorrain’s ‘Pastoral Landscape with Castel Gandolfo’ in the Palazzo Barberini, Rome’ 1819

Joseph Mallord William Turner Notes and Sketch Relating to Claude Lorrain’s ‘Pastoral Landscape with Castel Gandolfo’ in the Palazzo Barberini, Rome

1819
View by appointment
Joseph Mallord William Turner, ‘Copies by Turner of Venetian Paintings, including Works by Palma, Tintoretto and Veronese; and Notes by James Hakewill on Venice’ 1819

Joseph Mallord William Turner Copies by Turner of Venetian Paintings, including Works by Palma, Tintoretto and Veronese; and Notes by James Hakewill on Venice

1819
View by appointment
Joseph Mallord William Turner, ‘Copy of the “Seaport with the Villa Medici” by Claude Lorrain’ 1819

Joseph Mallord William Turner Copy of the “Seaport with the Villa Medici” by Claude Lorrain

1819
View by appointment
Joseph Mallord William Turner, ‘Copies of Italian Paintings; and Notes by James Hakewill on Florence and Parma’ c.1819

Joseph Mallord William Turner Copies of Italian Paintings; and Notes by James Hakewill on Florence and Parma

c.1819
View by appointment
Joseph Mallord William Turner, ‘Part of a View of Auxerre, France, from the East, with the Cathedral; and Notes on Claude Lorrain’s ‘Pastoral Landscape with Castel Gandolfo’ in the Palazzo Barberini, Rome’ 1819–20

Joseph Mallord William Turner Part of a View of Auxerre, France, from the East, with the Cathedral; and Notes on Claude Lorrain’s ‘Pastoral Landscape with Castel Gandolfo’ in the Palazzo Barberini, Rome

1819–20
View by appointment
Joseph Mallord William Turner, ‘Copies of Paintings by Veronese in the Sala del Collegio of the Palazzo Ducale, Venice’ 1819

Joseph Mallord William Turner Copies of Paintings by Veronese in the Sala del Collegio of the Palazzo Ducale, Venice

1819
View by appointment
Joseph Mallord William Turner, ‘Notes by the Artist on ‘Landscape with the Port of Santa Marinella’ by Claude Lorrain in the Sciarra Collection, Rome; and a Rough Sketch of Distant Buildings’ 1819

Joseph Mallord William Turner Notes by the Artist on ‘Landscape with the Port of Santa Marinella’ by Claude Lorrain in the Sciarra Collection, Rome; and a Rough Sketch of Distant Buildings

1819
View by appointment
Joseph Mallord William Turner, ‘Sketch of Titian’s ‘Sacred and Profane Love’ in the Galleria Borghese, Rome, and Notes on Other Paintings’ 1819

Joseph Mallord William Turner Sketch of Titian’s ‘Sacred and Profane Love’ in the Galleria Borghese, Rome, and Notes on Other Paintings

1819
View by appointment
Joseph Mallord William Turner, ‘Copies of Poussin’s ‘Landscape, with Diogenes’ and Two Pictures by Claude Lorrain in the Louvre Collection (‘Seaport with the Landing of Cleopatra’ and ‘Landscape, with Samuel Annointing David’); Designs for a Picture Entitled ‘The Prodigal Son’’ 1821

Joseph Mallord William Turner Copies of Poussin’s ‘Landscape, with Diogenes’ and Two Pictures by Claude Lorrain in the Louvre Collection (‘Seaport with the Landing of Cleopatra’ and ‘Landscape, with Samuel Annointing David’); Designs for a Picture Entitled ‘The Prodigal Son’

1821
Joseph Mallord William Turner, ‘Partial Copy of ‘The Enchanted Isle’ by Antoine Watteau; Two Composition Studies for ‘Rome from the Vatican’’ c.1815–20

Joseph Mallord William Turner Partial Copy of ‘The Enchanted Isle’ by Antoine Watteau; Two Composition Studies for ‘Rome from the Vatican’

c.1815–20
View by appointment