Joseph Mallord William Turner Two Views of Florence from Fiesole 1819
Joseph Mallord William Turner 1775–1851
Folio 84 Recto:
Two Views of Florence from Fiesole 1819
D16627
Turner Bequest CXCI 84
Turner Bequest CXCI 84
Pencil on white wove paper, 189 x 113 mm
Inscribed by the artist in pencil ‘Cyp in all’ bottom right
Inscribed by ?John Ruskin in red ink ‘84’ top right, ascending right-hand edge [very faint]
Stamped in black ‘CXCI 84’ top right, ascending right-hand edge
Inscribed by ?John Ruskin in red ink ‘84’ top right, ascending right-hand edge [very faint]
Stamped in black ‘CXCI 84’ top right, ascending right-hand edge
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.570, as ‘Two views of Florence’.
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Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, pp.27 note 19, 205 note 27, 431, 520 note 71, as ‘Two views of Florence from Fiesole, the second marked Cyp in all’.
1987
Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London 1987, pp.6 note 11, 92 note 18, 206 note 111.
As Cecilia Powell identified these two views of Florence were taken from Fiesole, a hill town to the north-east of the city celebrated for its panoramic vistas across the surrounding countryside. The top sketch depicts Florence in the far distance from Fiesole itself, whilst the lower drawing show the Duomo and the tower of the Palazzo Vecchio from the banks of the River Mugnone on the outskirts between Florence and Fiesole. Turner has inscribed the lower scene ‘Cyp in all’, a reference to the seventeenth-century Dutch painter, Aelbert Cuyp (1620–91). The year before departing on his Italian tour, Turner had exhibited a painting at the Royal Academy, Dort, or Dordrecht, the Dort Packet-Boat from Rotterdam Becalmed (Yale Center for British Art), which was a direct homage to the Cuyp’s Italianate landscape compositions and golden lighting.1 During his travels through Italy in 1819–20 he was reminded of the artist on at least two occasions, here in Florence, but also on the coast in the south of the country (see the Naples, Paestum, Rome sketchbook, Tate D15976; Turner Bequest CLXXXVI 33).2
Further sketches from Fiesole can be found on folios 30 verso, 31, 74–78, 79, 79 verso (D16542, D16543, D16608–D16616, D16618, D16619). Powell has suggested that the dark figure in the foreground of the lower study on this page may also have influenced Turner’s later design for the watercolour vignette, Florence, for Rogers’s Italy (see Tate D27673; Turner Bequest CCLXXXV 156).3
Verso:
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Nicola Moorby
February 2011
How to cite
Nicola Moorby, ‘Two Views of Florence from Fiesole 1819 by Joseph Mallord William Turner’, catalogue entry, February 2011, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012, https://www