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The Decline of the Carthaginian Empire
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Artwork Detail
 
 
The Decline of the Carthaginian Empire
Item: DMP08171
Size:
(inch)
24x36
Price:
(USD)
ListPrice:$
OurPrice:$
Artist: TURNER, Joseph Mallord William
Location: Tate Gallery, London
Note: The presented price is for referrence. For complex content of the painting, manual cost evaluation will be done after the order is made. The painting will be unframed and be shipped in rolled tube.

Other size(inch)
  30x40 $629.56
  36x48 $742.44

 
Author's biography
English painter, one of the greatest and most original of all landscape painters. His family called him Bill or William, but he is now invariably known by his initials. Precociously gifted, he became a student at the Royal Academy Schools in 1789 and first exhibited a watercolour at the Academy in 1790, when he was only 15. He studied at the Academy for four years, and during this time also had lessons from Thomas Malton (1748-1804), a topographical watercolourist who specialized in neat and detailed town views. From 1791 Turner began making regular sketching tours, producing many drawings of picturesque views and architectural subjects that he later sold to engravers or worked up into watercolours. At this time his work was more polished but less inventive than that of his friend Girtin (with whom he worked for Dr Monro). Initially he painted only in watercolour, but in 1796 he first exhibited an oil at the Academy, Fishermen at Sea (Tate Gallery, London), a work showing his admiration for 17th-century Dutch marine painting. Only three years later, in 1799, he was elected an Associate of the Royal Academy at the youngest permitted age (24), and in 1802 he became the youngest ever full Academician. His career flourished in terms of money as well as prestige, for he was hardworking, a good businessman, and frugal by nature (he lived rather squalidly, but he was not miserly or ungenerous, as is sometimes maintained).The Dutch influence in Turner's work soon gave way to that of Claude and Wilson, but already in the early 1800s it was recognized that he was introducing a new and revolutionary approach to landscape, his painting becoming increasinglyRomantic in its dramatic subject-matter and sense of movement, as in the powerful Shipwreck (Tate Gallery, London, 1805). During these years, however, he continued exhibiting pictures in a more conventional manner and still worked for engravers (his most ambitious engraving project was his Liber Studiorum, conceived in emulation of Claude's Liber Veritatis and intended to show the range of his own work; between 1807 and 1819 he issued 71 of a projected 100 plates).Turner made his first journey to the Continent in 1802, during a temporary peace in the war with France, visiting Paris like so many other artists to see pictures looted by Napoleon, which were then on exhibition. From Paris he travelled on to Switzerland. The resumption of war made Continental travel impossible for more than a decade, and Turner did not go abroad again until 1817, when he visited Belgium. Holland, and the Rhine. He first visited Italy two years later, and from then until 1845 made fairly regular journeys abroad (including three more to Italy, the last in 1840). Unlike his contemporary Constable, who concentrated on painting the places he knew best, Turner was inspired to a great extent by what he saw on his travels (he lived in London all his life, but the city appears fairly infrequently in his paintings). The mountains and lakes of Switzerland and the haunting beauty of Venice, in particular, provided him with an enduring fond of subjects. On his journeys he was in the habit of making rapid pencil jottings, which he used later as reminders for imaginative compositions. He was inspired by history (especially ancient history) and literature as well as nature. Many of the paintings he exhibited at the Royal Academy were accompanied by verses printed in the catalogue, and from 1800 he added lines he had composed himself.From the 1830s Turner's painting became increasingly free, with detail subordinated to general effects of colour and light. His work was often attacked by critics, one of his most celebrated pictures - Snow Storm: Steam-Boat off a Harbour's Mouth (Tate Gallery, London, 1842) - being dismissed as 'soapsuds and whitewash'. However, he also had many admirers, including some who regarded him as the outstanding genius of the day. His most important patron was the third Earl of Egremont (1751-1837), w
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