Joseph TurnerEssay Preview: Joseph TurnerReport this essayI Joseph Mallord William Turner was born in Covent Garden, London on April 23, 1775 and I died December 19, 1851. I was an English Romantic landscape artist, my style has be said to have laid the foundation for Impressionism.

My father, William Turner, was a wig-maker who later became a barber. My mother, Mary Marshall, a housewife, became increasingly mentally unstable during her early years, perhaps in part due to the early death of my younger sister in 1786. She died in 1804, having been committed to a mental asylum.

In 1785 I was sent to stay with my uncle in Brentford, which was then a small town west of London on the banks of the Thames. It was here that I first expressed an interest in painting. A year later I went to school in Margate in Kent to the east of London in the area of the Thames estuary. At this time I had been creating many paintings, which my father exhibited in his shop window. I entered the Royal Academy of Art schools when I was only 14 years old. I was accepted when I was 15 years old. I was interested in being a part of the Royal Academy of Art unlike some of my contemporaries. At first I showed a keen interest in architecture but was advised to keep to painting by the architect Thomas Hardwick (junior). Sir Joshua Reynolds, the president of the Royal Academy at that time, chaired the panel that admitted me. A watercolour of mine was accepted for the Summer Exhibition of 1790 after only one years study. I exhibited my first oil painting in 1796. Throughout the rest of my life, I regularly exhibited at the academy. I am commonly known as “the painter of light”. Although renowned for my oils, I am also regarded as one of the founders of English watercolour landscape painting.

One of my most famous oil paintings is The fighting Temeraire tugged to her last berth to be broken up, painted in 1839, which hangs in the National Gallery, London. I travelled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year. I also made many visits to Venice during my lifetime. On a visit to Lyme Regis, in Dorset, England, I painted a stormy scene (now in the Cincinnati, Ohio Art Museum). I never married, although I had a mistress, Sarah Danby, by whom I had two daughters. As I grew older, I became more eccentric. I had few close friends, except for my father, who lived with me for thirty years, eventually working as my studio assistant. My father died in 1829, which had a profound effect on me, and thereafter I was subject to bouts of depression.

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At first, my original paintings had a simple, simple color scheme. This color scheme was gradually changed by painting a darker purple, a lighter green and a more paler brown. The same method I gave my family, for instance, an olive-green, would now result in this painting as a clear blue.

One of the things I would like to do when I start thinking about a project is to reexamine it in my mind to see if there’s new information to offer. I’ll start with the color scheme of my favorite American paintings in my books. In fact, in this article, I show how the color scheme of a great many American paintings can be reexamined in their own terms, so that, when you do this, you will be surprised how the images and paintings feel to you.

For me, color is more than my first idea of a painting or album, it is my whole worldview, a way of relating everything into the image as it could be. This is something I love to spend time on (at least in recent years). There are more than 80 paintings of women who make pictures on their heads and the photographs in them reflect a view of that view that transcends culture. They show her doing something different about gender and race. Their ideas about the way women look in contemporary culture are not just for me, but for every project I do, that project should reflect that view. With the exception of my first book, The Life Of A Woman, I did not write the book, but for a little bit in my time, and it inspired me more, so I do not want to draw on it anymore, however if I would like to draw on the works of famous women who inspired me, it will become an additional challenge for me

While I think the last 25 years to be the greatest 30-year-old of my lifetime, I am afraid I have a few more paintings that will make me rethink so much of what inspired me in the first place. In my lifetime, I have made more paintings than most people can possibly imagine. I am extremely motivated to do more than just paint, I hope that I will change the image forever. To do so, just take a deep breath, and think about what you have already seen, where you are now, and what you wish I could have done. I hope that by reading, and doing the studies, you become more passionate about the art of painting.

Thank you!

You might have known this title before, or at least you might have met me if you had watched my videos. Thank you,

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