As a blind person might see the world if the gift of sight were suddenly returnedâ€”this is how we might describe the effect of William Turner's paintings on the observer. John Ruskin, Turner's uncompromising 19th-century defender, alluded to this idea when he spoke of an "innocence of the eye" which perceived the world's colours and forms before it could recognize their significance.   But to develop such a style, William Turner (1775-1851) first had to overcome the legacy of late rococo academic teachings. He was simultaneously a romantic and a realistâ€”and yet he transcended both styles. His landscapes, far in advance of their time, have been called forerunners of Impressionism, yet they also possess traits that influenced Expressionism, and many of his late compositions are undeniably surrealistic.   Turner's art cannot be bound by such classifications, and remains an oddity to art history even today. His work arises from a unique relation to the nature that it depicts: through his brilliant sketches, he found a rigorously open kind of painting in which nature sets free the use of colour. And through the workings of the natural elementsâ€”especially atmospheric lightâ€”Turner confronted nature at the point where nature itself is an image. This book opens up Turner's paintings for the eye, demonstrating that he was not simply illustrating nature, but that his pictures speak directly to the eye as nature does itselfâ€”through a world of light and colour.

J.M.W. Turner 1775-1851: The World of Light and Colour

Arts & Photography

Bockemühl, Michael

Turner, J.M.W.

History & Criticism

Taschen America, LLC

Rembrandt

Bockemuhl, U

Taschen

Rembrandt 1606-1669. Das Rätsel der Erscheinung.

Taschen Verlag

Rembrandt, 1606-1669

Individual Artists

Turner

The mystery of the revealed form: A mirror of the artistic and intellectual developments of the 17th century Rembrandt Harmensz van Rijn (1606–1669) was one of the most complex and multi–faceted artists of the 17th century. From his initial period in Leiden to his early and late phases in Amsterdam, the stages of Rembrandt’s career mirror the artistic and intellectual developments of the century. After breaking off his studies in Leiden, the young Rembrandt trained as a painter for two years and eventually established his own painting workshop. Characteristic of the Leiden period are his biblical histories, such as The Raising of Lazarus, but the roots of Rembrandt’s portraiture, nourished by his intensive studies of physiognomy, also are to be found in these same years. Later, in Amsterdam, the perfection of Rembrandt’s likenesses initially won him the favor of numerous patrons—but the artist soon surpassed their expectations. Transcending traditional modes of presentation, Rembrandt composed his portraits in the same manner in which he had earlier constructed his scenes. The results are visible, for example, in the famous group portrait The Anatomy Lesson of Dr. Nicolaes Tulp from 1632. In the last phase of Rembrandt’s work—when, plagued by financial problems, he had withdrawn into seclusion—it is no longer possible to distinguish between event paintings and portraits. About the Series: Each book in TASCHEN’s Basic Art series features:<ul>
<li>a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance</li> <li>a concise biography</li> <li>approximately 100 illustrations with explanatory captions</li> </ul>

Rembrandt 1606-1669: The Mystery of the Revealed Form

The innocence of the eye As a blind person would see the world if the gift of sight suddenly returned - so might one describe the effect of Turner’s paintings on the observer. John Ruskin, the uncompromising nineteenth-century defender of the painting of William Turner (1775-1851) spoke of the ’innocence of the eye’, which perceived the colours and forms of the world before it recognized their significance. But in order to develop such a style, Turner first had to overcome the entire legacy of late rococo academic teachings. He was simultaneously a romantic and a realist - and yet he was neither. His landscapes, far in advance of their time, have been called forerunners of Impressionism, but they also possess traits that influenced Expressionism, and many of his late compositions are thoroughly surrealistic. In reality, Turner’s art cannot be comprehended by such classifications: its essence remains a riddle to art history even today. For his work arises from a unique relation to the nature that it depicts: through his brilliant sketches, he found his way already in the 19th century to a rigorously open kind of painting in which nature sets free the use of colour. And through the workings of the natural elements - especially atmospheric light - Turner confronted nature at the point where nature itself is an image. This book provides the understandings necessary to open up Turner’s paintings for the eye, demonstrating that Turner was not simply illustrating nature, but that his pictures speak directly to the eye as nature does itself - through a world of light and colour. About the Series: Each book in TASCHEN’s Basic Art Series features:<ul>
<li>a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance</li> <li>a concise biography</li> <li>approximately 100 colour illustrations with explanatory captions</li> </ul>

J.M.W. Turner 1775-1851: World of Light and Colour

Turner.

The innocence of the eye As a blind person might see the world if the gift of sight were suddenly returned—this is how we might describe the effect of William Turner’s paintings on the observer. John Ruskin, Turner’s uncompromising 19th-century defender, alluded to this idea when he spoke of an "innocence of the eye" which perceived the world’s colours and forms before it could recognize their significance. But to develop such a style, William Turner (1775-1851) first had to overcome the legacy of late rococo academic teachings. He was simultaneously a romantic and a realist—and yet he transcended both styles. His landscapes, far in advance of their time, have been called forerunners of Impressionism, yet they also possess traits that influenced Expressionism, and many of his late compositions are undeniably surrealistic. Turner’s art cannot be bound by such classifications, and remains an oddity to art history even today. His work arises from a unique relation to the nature that it depicts: through his brilliant sketches, he found a rigorously open kind of painting in which nature sets free the use of colour. And through the workings of the natural elements—especially atmospheric light—Turner confronted nature at the point where nature itself is an image. This book opens up Turner’s paintings for the eye, demonstrating that he was not simply illustrating nature, but that his pictures speak directly to the eye as nature does itself—through a world of light and colour. About the Series: Each book in TASCHEN’s Basic Art series features:<ul>
<li>a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance</li> <li>a concise biography</li> <li>approximately 100 illustrations with explanatory captions</li> </ul>

J. M. W. Turner: 1775-1851: the World of Light and Colour

Rembrandt (German Edition)

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