Joseph Mallord William Turner Tivoli, from the Valley 1819
Joseph Mallord William Turner 1775–1851
Folio 49 Verso:
Tivoli, from the Valley 1819
D15019
Turner Bequest CLXXIX 49 a
Turner Bequest CLXXIX 49 a
Pencil on white wove paper, 112 x 186 mm
Inscribed by the artist in pencil ‘Gaspar’ top left, and ‘R’ and ‘G’ within sketch bottom right
Inscribed by the artist in pencil ‘Gaspar’ top left, and ‘R’ and ‘G’ within sketch bottom right
Accepted by the nation as part of the Turner Bequest 1856
References
1909
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.528 as ‘Town on hill, with waterfall’.
1974
Gerald Wilkinson, The Sketches of Turner, R.A. 1802–20: Genius of the Romantic, London 1974, reproduced p.188, bottom left.
1984
Cecilia Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, pp.174 note 17, 176 note 25, reproduced pl.99, as ‘Tivoli’.
1987
Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London 1987, p.[77] note 15, reproduced pl.77, as ‘Tivoli’.
2008
Nicola Moorby, ‘Un tesoro italiano: i taccuini di Turner’, in James Hamilton, Nicola Moorby, Christopher Baker and others, Turner e l’Italia, exhibition catalogue, Palazzo dei Diamanti, Ferrara 2008, pp.100, 105 note 15.
2009
Nicola Moorby, ‘An Italian Treasury: Turner’s sketchbooks’, in James Hamilton, Nicola Moorby, Christopher Baker and others, Turner & Italy, exhibition catalogue, National Galleries of Scotland, Edinburgh 2009, pp.113, 155 note 16.
Turner’s exploration of Tivoli included a large number of landscape sketches drawn from the river valley to the north. He was particularly attracted by the spectacle of the town’s ancient ruins perched above the steep, wooded gorge and streaming waterfalls. This page contains a view of the spur of land at the northern tip of the town where part of the river flowed from an underground passage and emerged in cascades down the slopes. Turner’s viewpoint is the floor of the valley at a point beneath the convent of San Antonio and the so-called Temples of Vesta and the Sibyl are just out of sight round the corner on the left-hand side of the composition. He has used rough hatching and shading to describe the steep craggy slopes, lush vegetation and cascades of falling water. The buildings visible along the crest of the hill are shaded in darkness suggesting that the sketch was drawn during late afternoon or early evening when the sun was setting in the west. Similar views can be seen on folios 48–52 verso and 55 (D15016–D40926 and D15027), and in the Tivoli sketchbook (Tate D15467; Turner Bequest CLXXXIII 1).
In the top left-hand corner of the page Turner has invoked the name of Gaspard Dughet (1615–1675), a seventeenth-century landscapist also known as Gaspar Poussin because of the similarity of his style to that of his mentor and brother-in-law, Nicolas Poussin (1594–1665). Widely appreciated and collected in Britain, Dughet was best known for his paintings of Tivoli and the Roman Campagna. Along with Claude Lorrain (circa 1604/5–1682) and Richard Wilson (1713–1782), Dughet was the artist uppermost in Turner’s mind during this part of his Italian tour.
Nicola Moorby
February 2010
How to cite
Nicola Moorby, ‘Tivoli, from the Valley 1819 by Joseph Mallord William Turner’, catalogue entry, February 2010, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012, https://www