Search Details

Creator Joseph Mallord William Turner, 1775–1851, British
Title Vesuvius in Eruption
Date between 1817 and 1820
Medium Watercolor, gum and scraping out on medium, slightly textured, cream wove paper, mounted on thick, smooth, cream wove paper
Dimensions Sheet: 11 1/4 x 15 5/8 inches (28.6 x 39.7 cm)
Inscription(s)/
Marks/
Lettering
Inscribed in graphite, verso, on mount, center: "<37> (encircled)"; in graphite, verso, center: "Mount Vesuvius in Eruption | J M W Turner R.a 1817"
Credit Line Yale Center for British Art, Paul Mellon Collection
Accession Number B1975.4.1857
Collection Prints and Drawings
Curatorial Comment The eighteenth-century fascination with volcanoes, and Vesuvius in particular, deepened in the nineteenth century, fuelled by the eruptions of Vesuvius in 1794, 1807, 1819, and 1822. Turner was alert to both the intellectual and aesthetic possibilities that the evolving discipline of geology offered; he cultivated friendships with pioneering geologists, including John MacCulloch and Charles Stokes, and his sketchbooks contain detailed records of geological phenomena. During the second decade of the nineteenth century Turner, a keen proponent of the Sublime, had his own burst of volcanic activity. In 1815 he exhibited his canvas “The Eruption of the Souffrier Mountains, in the Island of St Vincent” (Butlin and Joll, 1984, no. 132); two years later the print publisher W. B. Cooke commissioned Turner to make companion watercolors of Vesuvius, showing the volcano in eruption and repose (Wilton, “Turner”, 1979, nos. 698–99). This watercolor, the third of the group and the most spectacular, would also have been made around the same time as Cooke's drawings, if the inscription on the back, which is not in Turner's hand, is correct. Turner did not visit Italy until 1819, and he may have based the Vesuvius drawings on the work of another draftsman, most likely James Hakewill, whose sketches Turner used for a group of watercolors commissioned as designs for Hakewill’s publication “Picturesque Tour of Italy”. Although the Center’s Vesuvius drawing was neither exhibited nor engraved, its extremely high degree of finish suggests that Turner had made it for a specific purpose, perhaps as a commission. Although Turner's patron Walter Fawkes owned the watercolor, it was not included in Fawkes’s exhibition of his collection at his London house in 1819, which featured his outstanding holdings of Turner’s work. The work was probably acquired by Fawkes (and possibly even made) sometime later.
     -- Gillian Forrester, 2007-01
Link to This Record http://collections.britishart.yale.edu/vufind/Record/1669739
Subject Terms boats | geology | Grand Tour | landscape | lava | mountain | science | smoke | volcano
Place Represented Campania | Europe | Italy | Napoli | Vesuvius
Publications

John Baskett, Paul Mellon's legacy, a passion for British art : masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, p. 284, no. 89, pl. 89, N5220 M552 P38 2007 OVERSIZE (YCBA)


J.M.W. Turner, Tate Publishing, London, 2007, p. 255, fig. 58, NJ18 T85 A12 2007 + (YCBA)


Martin Butlin, The paintings of J.M.W. Turner, The Paul Mellon Centre for Studies in British Art, New Haven, 1984, pp. 96-97, no. 132, pl. 136, NJ18 T85 B885 1984 OVERSIZE (YCBA)


Painting in England 1700-1850, collection of Mr. & Mrs. Paul Mellon., Virginia Museum of Fine Arts, Richmond, VA, 1963, p. 95, no. 142, ND466 V57 v.1-2 (YCBA)


Eric Shanes, The life and masterworks of J.M.W. Turner, Parkstone Press, New York, 2008, p. 135, NJ18 T85 S441 2008 + OVERSIZE (YCBA)


Andrew Wilton, The life and work of J.M.W. Turner, Academy Editions, London, 1979, pp. 137, 381, No. 697, pl. 145, NJ18 T85 +W577 OVERSIZE (YCBA)


Jonathan Mayne, Taste in Water-Colour, Apollo, v. 77, no. 14, April 1963, p. 293, fig. 6, N1 A54 + (YCBA) , Second copy available in Vertical File : V1168


Emily Dickinson Museum, Angles of a Landscape, Emily Dickinson: Seeing New Englandly, 2010, Not Available at Yale


Norbert Göttler, Eine rechte Malerluft, ein wahres Malerlicht, Künstlerkolonien, Malerorte und pittoreske Landpartien in Oberbayern, Bayerland, Dachau, 2011, pp. 8-10, Not Available at Yale


Art, Lux, et Veritas 2012, Personal Responses to Collections at Yale, Yale Center for British Art, New Haven, 2012, pp. 38-41, V 2414:2


Art, Lux, et Veritas 2012, Personal Responses to Collections at Yale, Yale University Art Gallery, New Haven, 2012, pp. 38-41, V 2414:2


J.M.W. Turner : the making of a master, Tate Publishing, London, 2013, pp. 149, 152, fig. 53, NJ18.T85 T3652 2013 (YCBA)


The critique of reason : Romantic art, 1760-1860 : March 6-July 26, 2015, Yale University Art Gallery, Yale University Art Gallery, New Haven, 2015, [pp. 2-3], fig. 2, V 2574 (YCBA)


The critique of reason : Romantic art, 1760-1860 : March 6-July 26, 2015, Yale University Art Gallery, Yale Center for British Art, New Haven, 2015, [pp. 2-3], fig. 2, V 2574 (YCBA)

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