{"id":2393,"date":"1999-06-11T12:18:45","date_gmt":"1999-06-11T19:18:45","guid":{"rendered":"http:\/\/i81.a52.mywebsitetransfer.com\/?p=2393"},"modified":"2010-06-18T12:12:27","modified_gmt":"2010-06-18T19:12:27","slug":"turning-on-turner","status":"publish","type":"post","link":"https:\/\/dactylfoundation.org\/?p=2393","title":{"rendered":"Turning on Turner"},"content":{"rendered":"

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\"\"Online exhibition 1999-2001<\/strong><\/p>\n

Much of the later work of Joseph Mallord William Turner (1775-1851) is the epitome of abstraction, that is, his images are not merely nonrepresentational. The paintings featured in this online exhibition are truly reified representations of seascapes, landscapes, and cityscapes. They are so reified, in fact, as to be almost symbolic of what they depict rather than illustrative. Dactyl Foundation for the Arts & Humanities presents “Turning on Turner,” an online exhibition of contemporary artists whose work is influenced by the great British painter. The show includes works by\u00a0Dozier Bell,\u00a0Pamela Bowers, James Crosby,\u00a0Joy Garnett,\u00a0Neil Grayson, and W. Whitney Smith III. Shown left is Turner’s variously named Light and Colour (Goethe’s Theory)- The Morning after the Deluge- Moses Writing the Book of Genesi<\/em>s (c. 1843), Oil on Canvas, 787mm x 787mm<\/span><\/strong><\/p>\n

Dozier Bell<\/strong><\/p>\n

Dozier Bell’s Kyrie <\/em>(1999) recalls Turner’s The Burning of the Houses of Lords and Commons<\/em> (1834),while Bell’s\u00a0Fire <\/em>(2008)\u00a0is comparable to Turner’s Light and Color <\/em>(c. 1843), <\/em>and Bell’s River<\/em> (2009) to Turner’s Snow Storm <\/em>(c. 1842).<\/p>\n

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Pamela Bowers<\/strong><\/p>\n

Bower’s Amphibious Longing<\/em> can draw parallels with Turner’s Sunrise with Sea Monsters<\/em> (c. 1845), while her painting Awakening of the Hydra<\/em> draws comparisons with Turner’s Death on a Pale Horse<\/em> (c.1825 – 30).<\/p>\n

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Joy Garnett<\/strong><\/p>\n

Garnett’s\u00a0Dabomb\u00a0can be compared to Turner’s\u00a0Blazing Wreck<\/em> (1835-40), and her\u00a0Autonomic\u00a0to Turner’s\u00a0Snow Storm<\/em> (1812)<\/p>\n

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James Crosby<\/strong><\/p>\n

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James Crosby’s Autumn<\/span><\/em> (1999), comes as close as possible to landscapes without losing the effect of abstraction. Crosby is masterfully trained in the same techniques used by Turner. His paintings might be compared to Turner’s <\/span>Mercury Sent to Admonish Aeneas<\/span>, exhibited 1850, and <\/span>Scene in Venice<\/span> (circa 1840-5).<\/span><\/em><\/p>\n

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<\/span><\/em> Neil Grayson<\/strong><\/p>\n

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Neil Grayson presents a series of paintings that explore concentrated light sources such as those seen in Turner’s sunsets or sunrises, e.g.,\u00a0The Evening of the Deluge<\/em> (circa 1843),\u00a0Light and Colour (Goethe’s Theory) – <\/em>aka The Morning after the Deluge <\/em>(circa 1843), shown at the top of this post. Even though Grayson may not have been consciously aware of any influence, On Stage, <\/em>1990 (left) can compare to Sunset<\/em><\/em><\/p>\n

Grayson, like Turner in Shade and Darkness – the Evening of the Deluge<\/em> (1843), uses advanced techniques for layering paint and constructing texture, originally developed in the Renaissance, to create a glow that seems to come from within the painting itself.\u00a0Grayson’s\u00a0Singularity-Black Box, <\/em>1999 illustrates how classical methods remain essential for contemporary abstract art.<\/p>\n

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Grayson’s\u00a0The Glory, <\/em>1989 can also be compared to Turner’s\u00a0The Angel Standing in the Sun, <\/em>exhibited 1846.<\/em><\/p>\n

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W. Whitney Smith III<\/strong><\/p>\n

Whitney Smith has a single work in the exhibition entitled, Europa<\/em>, <\/span>199? , which is more than reminiscent of Turner’s<\/span>Rain, Steam and Speed – The Great Western Railwa<\/em>y,<\/span> (1844).<\/span>Smith’s painting abstracts the scene of a bull emerging from a clouded or obscured landscape. Though not directly influenced by Turner, it might be said that Smith inherited his sense of abstraction through his influence of the whole of 20th century abstract painting.<\/span><\/p>\n

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