![]() ![]() Marcia Wallace has pointed out that Turner probably derived the irregular octagonal format in which he chose to exhibit this pair of paintings from works by Claude, the Pastoral Landscape ( Liber Veritatis no. ![]() 399 is now however framed to show the full extent of the painted surface. Both pictures, though painted to the full extent of the square canvas, were finished off, presumably on the R.A. The Exile and the Rock Limpet, a picture of Napoleon on St Helena (No. cat., Paris 1983–4) sees the black bird in the foreground, whose wings echo the black sails, as a duck or ‘mallard’ and hence a pun on Turner's second name.Īt the R.A. Jones reported that Clarkson Stanfield objected to the darkness of the sails ‘I only wish I had any colour to make them blacker’, replied Turner, who may also have been alluding to Wilkie's marked use of black in his later pictures. Turner's picture was done in friendly rivalry with George Jones, who did a drawing of the burial as seen on deck. ![]() The painting is a memorial to Turner's friend and erstwhile rival Sir David Wilkie who died on board the Oriental on the way back from the Middle East on 1 June 1841 he was buried at sea off Gibraltar at 8.30 the same evening. ‘The midnight torch gleamed o'er the steamer's sideĪnd Merit's corse was yielded to the tide.’ 65–6, 94, 96.Įxhibited in 1842 with the following lines: in colour and with detail in raking light Paulson 1982, pp. ![]() 143 Stephen Hackney (ed), Completing the Picture, 1982, pp. 174 William Walling, ‘More than Sufficient Room: Sir David Wilkie and the Scottish Literary Tradition’, Kroeber and Walling 1978, pp. 1842 (338) Manchester 1887 (623) Amsterdam 1936 (162, repr.) Golden Gate Exhibition San Francisco 1939 exchange loan to the Louvre, Paris, 1950–59 Victorian Artists in England National Gallery of Canada, Ottawa, March–April 1965 (150, repr.) New York 1966 (24, repr. Turner Bequest 1856 (42, ‘Burial at sea’ 2'9" × 2'9") transferred to the Tate Gallery 1910.Įxh. ![]()
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