J.M.W. Turner: Sketchbooks, Drawings and Watercolours

This striking image of a tower in the moonlight has been loosely painted, with broad washes of colour. The large tower dominates the left portion of the composition. A curious viaduct-like structure appears to protrude from the tower into the landscape. Beyond this structure are additional buildings or towers and several trees are discernible on the right. In the foreground, a streak of white paint, suggestive of a ghostly figure or presence, stands out against the subdued, earthly palette which characterises the rest of the drawing. The treatment of the subject evokes a sombre, foreboding atmosphere, where the buildings and trees appear to blend or evaporate into the night sky.

The location of this scene has not been conclusively identified. It has been suggested that the tower might be that of the abbey at Altmünster in Luxembourg, which Turner certainly visited in 1824 (see Tate D19712; Turner Bequest CCXVI 82).1 This attribution was largely founded on its comparison with another view in the Bequest (see D20265; CCXXII F), which was also said to represent the tower at Altmünster.2 However, as described in the present catalogue, this drawing has now been identified as showing the castle and collegiate church at Gisors in Normandy. The compositional and topographical resemblances between these two scenes is compelling, indicating that the subject of the present drawing might also be properly identified as Gisors. Indeed, other views of Gisors contained in the Seine and Paris sketchbook associated with the artist’s tour of the Seine in 1832 display additional similarities (see for example Tate D23962 and D23983; Turner Bequest CCLIV 41a, 52) suggesting the tower depicted here might be the Tour du Prisonnier. A discrepancy concerns the inclusion and appearance of the bridge, as no known view of Gisors contains such a motif. However, this may have been distorted or even invented by Turner, in the pursuit of an atmospheric presentation of the effects of the moonlight on these imposing structures, which would appear to be the true subject in this case.

Verso:

Blank, except for inscription in pencil ‘25’ right of centre. Stamped in black with Turner Bequest monogram over ‘CCLIX 189’ right of centre, towards bottom.