Joseph Mallord William Turner

The Disembarkation of Louis-Philippe at the Royal Clarence Yard, Gosport, 8 October 1844

c.1844–5

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In Tate Britain

Turner's Modern World

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Artist
Joseph Mallord William Turner 1775–1851
Medium
Oil paint on canvas
Dimensions
Support: 908 × 1213 mm
frame: 1284 × 1590 × 83 mm
Collection
Tate
Acquisition
Accepted by the nation as part of the Turner Bequest 1856
Reference
N04660

Display caption

JMW Turner 1775-1851
The Disembarkation of Louis-Philippe at Portsmouth, 8 October 1844 c.1844-5
Oil paint on canvas
Tate. Accepted by the nation as part of the Turner Bequest 1856
N04660
Turner visited Portsmouth to record the arrival of the French king, who was on a State Visit. He made numerous sketches of the event and also painted two unfinished oils: one showing the king’s arrival, the other his disembarkation. Both are principally concerned with the atmosphere of the occasion, concentrating on the crowd of onlookers. Turner had met Louis-Philippe when the king was living in exile at Twickenham in the 1810s. Contact between them was renewed in the mid-1830s and he was invited to dine with him at his château at Eu in 1845.

September 2014

Gallery label, August 2014

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Catalogue entry

506. [N04660] Festive Lagoon Scene, Venice? c. 1845

THE TATE GALLERY, LONDON (4660)

Canvas, 35 3/4 × 47 3/4 (91 × 121)

Coll. Turner Bequest 1856; transferred to the Tate Gallery 1938.

Exh. New York 1966 (32, repr. in colour p. 35); Wildenstein's 1972 (57, repr.); R.A. 1974–5 (538).

Lit. Herrmann 1975, p. 47, colour pl. 147.

Similar to No. 505 [N02068]. This example is typical of a number of Turner's later works in the way in which the spectator is drawn into the picture between serried rows of staring faces, running the gauntlet, as it were, of the frenzied inhabitants of Turner's imaginative world. It was formerly called ‘After the Ball(?)’.

Published in:
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984

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