Claude Lorrain and Turner

It's well documented that Turner bequeathed paintings to the nation on the condition that they were hung with Claude's work.

 

This painting, hanging in the National Gallery, was completed by Turner when he was in his 30's and was, apparently, much favoured by him as a rebuttal to some of his critics. Supposedly on seeing a Claude painting, Turner felt that it seemed to be 'beyond the power of imitation'.

 

Claude- Embarkation of Queen of Sheba 1648

 

                                           Turner- Dido building Carthage

 

But in 'Dido' Turner has created a painting matching Claude's work but emphasising his own interests. In 'Dido' Turner produces a direct view of the sun, light reflected on water and the transitory effect of light at a particular time of day-sunrise. Turner was Professor of perspective at the Academy so his detail of building is unsurprisingly skilful and these are typical of Claude's interests. However, Claude's critics have said that his works are almost rigid in the way they use a framing device much like a stage set and that he used diminishing bands of tone to create recession. Turner's later style comprises more complex pattern of shadows and highlights in keeping with its time and this gives more drama to the subject. 'Dido' displays attention to detail but has been achieved with more fluid strokes.

 

However, in some cases in works by the two artists the same division of the composition can be seen, as documented by Mr Freeman of the OCA photography department.

 

These are simplified versions of Claude's 'Rest on the Flight into Egypt' and Turner's 'Crossing the Brook' and these clearly show the dark side areas and the brightness through the middle sections leading the eye back and forth. Turner though was painting at a time of the Romantics and his work can show the almost objective style of Claude's as well as a more emotional response.

 

 

                                        Turner Peace: Burial at Sea 1842

 

Turner planned this composition as an octagonal piece. And he increasingly favoured square or octagonal formats as he concentrated on a central area especially of light. The colours in this work are in keeping with Goethe's book on colour theory that Turner studied carefully. As an ambitious and competitive person Turner's style constantly evolved. It was said that Turner wasn't trying to paint the effects of light but light itself and his canvases became more fluid and impressionistic.

 

                                                Norham Castle Sunrise 1845

 

Here all details are reduced to suggestions and colour is reduced to blue, yellows and red over a white ground which he used to heighten the tonality of the work. Turner painted this scene several times.

 

                                       Norham Castle on river Tweed 1822

 

This earlier version shows how the two works are composed similarly but very different in terms of colour. The side panels of darkness are much lighter in tone in the later work and detail is much reduced.

 

Turner's work has been discussed more in this brief essay than the work of Claude and this undoubtedly shows my preference for Turner's work. More than that though I think it reflects the development of Turner compared to Claude so decided to take a further look at the latter's work and his development.

 

The first thing I read was that Claude's work did evolve; but went from a more subjective, naturalistic style as influenced by Northern Renaissance to a more classical style with ruins etc.

 

 These two drawings by Claude were done c1635, and I like the looser more vital strokes worked here. To me they are far removed from his magnificent landscape paintings although it's probably true to say they shouldn't be compared.