Under the Italian sun
Country Life UK|March 30, 2022
Mary Miers considers how the country that fascinated J. M. W. Turner from youth shaped his artistic vision
Mary Miers
Under the Italian sun

ONE evening, while I was enjoying a cigar in a gondola, I saw Turner in another one sketching San Giorgio, brilliantly lit up by the setting sun. I felt quite ashamed of myself idling away my time whilst he was hard at work so late,’ recalled the painter William Callow.

It was late August 1840, when Turner was 65 and still working tirelessly to fill his sketchbooks with the pencil and watercolour studies that were always the absorbing objective of his travels. Indeed, the artist found himself re-energised by this two-week sojourn. In addition to his impressionistic renderings of well-known prospects, he sketched the markets, bragozzi (fishing boats) and buildings, including Santa Lucia (later lost to the railway station), explored poorer quarters such as Dorsoduro and roamed the canals by night. More than 100 sheets of watercolours from this last of his three visits convey the significance of Venice to his later work. He made daring experiments with brushwork, colour washes and white paint to capture the atmospheric effects of sun and moonlight, storm clouds and shadows on the floating city.

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