Ruskin's Turner: The making of a Romantic hero

Author(s): Marjorie Munsterberg

Source: The British Art Journal, Vol. 10, No. 1 (Spring/Summer 2009), pp. 61-71
Published by: The British Art Journal
Stable URL: http://www.jstor.org/stable/41614862
Accessed: 14-08-2015 09:44 UTC
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ART
Volume
X,No.1 TheBRITISH
Journal

Ruskin's
The

making

Trner

of a Romantic

hero

Marjore Munsterberg
tratededitionofSamuelRogers'sItalyin 1832as a present
from
which
helooks
back
stands
uponaneminence,
[Himer]
remainedan
forhis 13thbirthday.
Itsvignette
illustrations
of
ofGodandforward
overthegenerations
over
theuniverse
important
partofRuskin'sconceptionoftheartistforthe
bea history
oftheone,anda
men.
Letevery
work
ofhishand
restof his life.5It was notuntilthenextyearthathe saw
ofhismighty
mind
beboth
lesson
totheother.
Leteachexertion
oil paintings,
whenhe visitedthesummerexhibiTUrner's
totheDeity,
revelation
to
andprophecy;
adoration
hymn
In 1837,Ruskin
tion
at
the
withhisfather.6
Royal
Academy
mankind.
1
Hill
received
TUrner's
watercolour
Richmond
and Bridge,
1
vol
Modern
Painters
,
Ruskin,
John
(1843)
Museum)as a birthday
giftfromhisfather,
Surrey(British
I everfelt,
or
Painters
about
Himer
] saideverything
[Modern
thefirst
of manyhe was to own,and in 1844he received
I felt.
evendidnotknow
Slavers ThrowingOverboardthe Dead and Dying Pauline,
Lady
Ttevelyan
(1844)2
'typhon
ComingOn (Museumof FineArts,Boston; & J
historians
have refutedthe idea of JMWHirner 385),thefirst
ofonlytwooil paintings
he would
byTurner
embodiment
of
the
embattled
as
an
met
the
artistin
also
as
a
from
his
father.7
Ruskin
own,
(1775-1851)
gift
andindetail.Animmense 1840 and visitedTUrner'sown galleryabout this time.
Art Romantic
geniusrepeatedly
hasappearedsincethebicentennial
cel- Duringtheseyears,he developeda personalrelationship
amountofliterature
ebrationof the painter'sbirth,includingcatalogues withthe artistthat,however,ended abruptly
duringthe
a
of his paintings,
and
raisonns
were
not
close
mid-1840s.8
watercolours, engravings,
duringthelast
Although
they
of hisletters,
and severalbiographies,
as wellas
collection
will
Ruskin
one of the
of
Turner's
the
named
life,
years
specializedstudiesof his lifeand work.Majorexhibitions Executorsof Turner'sestate.Ruskinresignedfromthat
worksbeforea
havebrought
famousas wellas unfamiliar
position,buthe didcataloguethemorethan19,000works
wide public.In addition,individual
paintingshave been on paperthatenteredthecollectionofthenationas part
inrelation
to newquestions,
onesdrawn oftheTurner
especially
analysed
Bequest.9
Allthisscholarly
fromsocialand economichistory.3
first
wroteaboutHirner'sartin 1836,as a 17-yearactivity Ruskin
ofhisperiod,and old aboutto enterChristChurch,
within
thecontext
hasplacedHirner
Oxford.
Putinto 'black
firmly
ofhisart.
charted
thedevelopment
Blackwood's
Magazine
anger'bya reviewintheprestigious
has notreceived ofTurner's
he composeda
One aspectofTurner's
exhibitions
attheRoyalAcademy,
career,however,
rolein creating
the lengthy
itdeserves:
In it,he defended
Hirneras 'a
theattention
letterto theeditor10
JohnRuskin's
Hirner
as a Romantic
hero. meteor,
narrative
thatpresents
modernist
dashingon ina pathofglorywhichallmayadmire,
I willaiguethattheimageofHirner
as themakerofgreatand butinwhichnonecanfollow:
mustbe,and
andhisimitators
his
scorned
the
have
moths
about
been,
finally always
by
contemporaries,
lights,into
revelatory
pictures,
fluttering
ofhos- whichiftheyentertheyaredestroyed'
a lifetime
on
as a truegeniusafterenduring
recognized
(3:638).Touching
in someofthearguments
volwasinvented
thatwereto appearin thefirst
(1819-1900).
Beginning
byJohnRuskin
tility,
volumeofModernPainters
1843withthefirst
, continuing ume ofModernPainters
, Ruskindefendedthelikenessof
and
culmihis
of
the
1840s
and
thesplennature
and to theirsubjects,
Turner's
to
1850s,
through publications
pictures
Ruskin
in
in
fifth
volume
of
Modern
Painters
and his
1860
the
of
his
dor
Turner's
,
colour,
imaginative
capacity,
nating
ofbothHirner
and genius.Theletter
aboutthe
endswithmemorable
interpretation
hyperbole
arguedfora veryparticular
Ruskin's
receivedat
hiswork.Studyofthereviews
writings
dogs... baying[at] the
periodicalcriticsas innumerable
revealsjusthownewand how moon:-dotheythink
oraberthetimeoftheirpublication
shewillbateofherbrightness,
contradictthese
ideas
seemed.
Critics
from
the
of
her
rate
sharply
objectionable
majesty
path?'(3:640)
of
lifeas wellas hisinterpretations
Ruskin
senttheunsigned
maned hisvisionofTurner's
On theadviceofhisfather,
workwon uscriptto Turnerbeforesubmitting
EvenwhileotheraspectsofRuskin's
it to the periodical.
thepictures.
remained
contentious. Hirner'sreplyto 'J.R.Esq.'survives:
highly
praise,hisideasaboutTurner
Trner
WhenWalter
appearedin
LifeofJ.M.W
Thornbury's
MyDearSir
andbypeo1862,italso wascriticized
fiercely
byreviewers
I begtothank
andthetrouble
zeal,kindness,
you
your
youfor
ple who had known Turner,in part because of its
inmybehalf
in regard
ofthecriticism
ofBlackwoods
havetaken
because of its
dependenceon Ruskin'sideas,but chiefly
inthese
butI never
move
matMagofOc[t]respecting
myworks,
when a
the
late
inaccuracies.
1870s,
however,
By
many
savemischief
andthemealtubwhich
ters.
areofnoimport
They
revisededitionofThornbury's
biography
appearedand the
invaded
theflour
fears
for
bymyhaving
Maga[ie,Blackwood's]
of
FineArtSocietyin Londonstageda majorexhibition
tub.
oftheartist
ofworksbyTurner,
memories
Ruskin's
collection
cutaway]
[signature
Hirner's
as
an
art
critic
and
hadfaded,andRuskin's
authority
tolet
tohavetheMans
backhavethegoodness
PS.Ifyouwish
Hisdeeplypersonalidentifi- meknow.
wasimmense.
defender
greatest
I will
Ifnotwith
sanctions
sendittothePossessor
your
takenas proof
addedto thatauthority,
cationwiththeartist
ofthePicture
ofJuliet.
ofhisunderstanding.
ofthecorrectness
Bythe20thcentury, Thelastsentenceinthe
is a humorous
refbodyoftheletter
his advocacyof Hirner'sgeniushad become one of the
in whichTurner's
erenceto the reviewin Blackwood's
,
ofmodernism.4
canonical
episodesinthehistory
& J365)
and HerNurse(Private
collection;
Turner's painting/iz/tel
Ruskinfirstencountered
LikemostVictorians,
ofVenice,thrown
is describedas 'modelsofdifferent
parts
whenhe receivedtheillusworkintheformofengravings,
61

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AKT
Volume
X,No.1 TheBRITISH
Journal
streakedblue and pink,and
together,
higgledy-piggledy
was
thrownintoa flourtub'.The ownerof the painting
Hirner'sfriendand collector,Hugh Munroof Novar,to
Hirner's
whomthelettermayhavebeen sent.11
Following
asidetoworkon otherprojects.
advice,Ruskin
puthisletter
The reviewsof Hirner'sart that so angeredRuskin
art.
aboutcontemporary
publicdiscourse
belongedtoa lively
Criticism
aboutthevisualartsfirst
periappearedin British
odicals duringthe 1760s, partlyin response to the
establishment
of theSocietyofArtsin 1760and theRoyal
in 1768.Drawing
ofsources,includAcademy
upona variety
ofconnoisseurship,
arttheory,
andsatire,
ingthevocabulary
thatcouldentertain
writers
createda language
ofartcriticism
audience.Bytheearly
as wellas inform
a rapidly
growing
withthevisual
at leasta passingacquaintance
19thcentury,
artswasfirmly
established
as an essential
partofmiddle-class
Inresponsetothisinterest,
British
culture.
manyperiodicals,
to weeklyand monthly
fromdailynewspapers
magazines,
reviews
ofthemajorartshows.A fewperiodicals
published
itwas
devotedto visualartalso appeared,although
entirely
notuntiltheestablishment
ofthe ArtJournalin 1839(called
until1848)thatone was able to survivefor
theArt-Union
morethana fewyears.12
discourseRuskin
Thiswasthecritical
joinedwithModern
in theArtofLandscapeFainting
Painters:
TheirSuperiority
becausethe
to theAncientMasters- joinedquiteliterally,
weekof May,justafterthe
book appearedduringthefirst
inthe
exhibition.13
Conceived
openingoftheRoyalAcademy
summer
of 1842,whenRuskin
bynegaagainwasoutraged
in
thebook was written
tivereviewsofTurner's
paintings,
andpublished
under
thefallandwinter
near-secrecy
during
ofOxford'.14
Ruskin
thenomde plume Graduate
explained
inthepreface
thatthe'worknowlaidbeforethepublicorigofthe
attheshallowandfalsecriticisms
inatedinindignation
of the day' aboutHimer(3:3; 7:8). An essay
periodicals
led to another,
andthebook
becamea bookas one thought
becamefivevolumes,
between1843and
published
ultimately
a systematic
1860.In no senseis anyofthem,eventhefirst,
work.Insteadtheyconor evendefenceofHirner's
analysis
tain sprawling
and verypersonalargumentsabout art,
otherpubliAsin Ruskin's
nature,
and,increasingly,
society.
Hirneris alwaysan
cationsfromthesameperiod,however,
evenwhenhe is nottheexplicimportant
pointofreference,
itsubjectofdiscussion.
reference
ModernPainterswasnoticedat once.The first
in a
to it maybe a remarkthatappearedmid-sentence
reviewin the Spectatorof Hirner'sworkat the Royal
'Theremaybe somesublimemeaningin all this,
Academy:
to
as we aretoldthereis; butwe mustconfessourinability
Mostof the majorperiodicals
penetrateits profundity.'15
The
publishedreviewsof it withinthe nextsix months.16
critics
showeda surprising
ofopinion.Almostall
unanimity
to the
ofthempraisedthebookas a valuablecontribution
literature
aboutthefinearts.Theyalso admiredthebeauty
ofRuskin's
prose.Nonetheless,theyobjectedtotheextravagant languageRuskinused to criticizeother artists,
withhischaracterization
of
OldMasters,
especially
disagreed
and vigorously
Hirner,
objectedto thewayhe interpreted
tobe themajorpointsof
Hirner's
Thesecontinued
pictures.
madeofRuskin's
aboutHirnerforthenext
criticism
writings
threedecades.17
ofModernPainters
Thefirst
review
important
appearedin
JuneintheArtJournal(stillcalledtheArt-Union),
published
at the Academywas stillopen. The
whilethe exhibition
on two points.First,
anonymousreviewerconcentrated
foranypurpose:
wasentirely
Ruskin's
inappropriate
language

inanyofthenewspaper
isnottobefound
[A]tonesocoarse
Ifhe
incondemning.
him
which
we
with
notices,
agree
[Ruskin]
hedoesnotlike[Daniel
thus
ofonepicture
which
speak
ingoing
anexhiMaclise's
Hamlet
that,
through
],weapprehend
him.
would
notserve
hiscatalogue
ofvituperative
bition,
epithet
descend
ofhisdamnatory
Towhat
would
theterms
vocabulary in
ofa really
badpicture?
speaking
morerecentpaintings
thepraisegiventoTurner's
Secondly,
wasunacceptable:
ofthebetter
Weyield
tononeinadmiration
oftheworks
period
tohimqualioncereally
butwecannot
accord
ofthis
artist;
great
andwhich
he
which
donottherein
tiesinhislastworks
exist,
- qualities
in
ideaofgiving
them
hadnotthemost
remote
which,
itisinthepower
ofnoarttoconvey.18
fact,
hadbegunto
Thereference
to earliergreatworksbyTurner
criticism
be a stapleofexhibition
duringthe1820s,usually
to the classicalsubjectspaintedduringthe midreferring
The idea thatRuskinfoundmeaningin Turner's
1810s.19
theartisthad not intendedwas mademorefrepaintings
in lateryears,buttressed
and
bythe
quently morefiercely
had said thesamething
popularstorythatHirnerhimself
(see below).
Manymorereviewsappearedduringthefalland winter.
That in The Gentleman's
Magazine paid fulltributeto
Ruskin's
accomplishments:
inthebroad
hasa solidfoundation
andphilosophical
Theauthor
in
to
the
the
he
minute,
exact,
principlesapplies art;while, very
andartistanddelicate
criticisms
hedelivers,
heshows
a practical
.. Healsoisan
likeacquaintance
with
thedetails
ofthesubject..
.. [who]
thecaptiandimpressive
candescribe
writer;.
eloquent
in
of
diction.
beauties
of
the
brilliant
colour
poetic
vating
painting
tobe refuted
Theopinionsinthebook'aretooprofound
by
The
witha sneer'.20
a cavil,and too honestto be dismissed
werea different
matter.
The
however,
opinionsaboutHirner,
as 'gloreviewer
ofthepainter
quotedRuskin's
descriptions
in knowledge,and
rious in conception,unfathomable
inpower',andlike'theangelintheApocalypse,
and
solitary
whomoutofrespectwe shallforbear
othersimilar
persons,
In theend,thereadermust'dismissand forto mention'.21
andtoo partial
he'
comparisons
gettheglowing
descriptions
has readin thisvolume,and turnfromthevisionary
splendourofthewriter's
pagetotherealcoloursandcomposition
beforehim'inHirner'sactualworksofartinorderto reach
a fairopinion.22
A lengthy
of the
and muchmorepartisanexamination
bookappearedin OctoberinBlackwood'sMagazine,writthe
tenbythecurate,poet,andenthusiastic
amateur
artist,
whoregularly
wroteartcritiRevdJohnEagles(1783-1855),
cismforthe periodical.23
targetof
Eagleswas a particular
atthebeginning
ofhisreview
that
Ruskin's
ireandremarked
to
with
his
for
theauthorcame'vauntingly
contempt
up us,
us and all criticsthateverwere,or willbe; we are all little
In hisdiscussion
ofthe
Davidsin theeyeofthisGoliath'.24
sectionsinModernPaintersaboutHirner,
Eaglesfollowed
in finding
mostotherreviewers
Ruskin'selevationof the
aboveall otherartists
andoffensive.
He
painter
astonishing
ofHirnerto theangelofthe
toosingledoutthecomparison
whichhe quotedinfilli:
Apocalypse,
- glorious
- unfathomable
inknowlinconception
Hirner
[A]nd
inpowerwith
theelements
waiting
uponhis
edge solitary
tohiscall,sentasa
andthenight
andthemorning
obedient
will,
of
God
to
reveal
to
men
the
ofhisuniverse,
mysteries
prophet
with
a
likethegreat
oftheApocalypse,
clothed
standing,
angel
thesunand
a rainbow
andwith
andwith
cloud,
uponhishead,
intohishand.
stars
given

62

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ART
TheBRITISH
X,No.1
JournalVolume
withmockseriousness
thatthiswas blasphemy,
Suggesting
Eagles then 'indulg[ed]in a small degree of justifiable
ridicule'.How could thisdescription
be represented
in a
'statueorpainting
ofMr.Turner
fortheTempleofFame?'
Howwillthey
venture
torepresent
Mr.
Turner
likean
looking
- inthat
dress
which
would
make
angel
anymanlooklikea foolhiscloudnightcap
tiedwith
ribbon
riband
round
hishead,
calling
tonight
andmorning,
andlittle
which
comes,
caring
making
'ducks
anddrakes'
ofthesunandthestars,
putintohishandfor
that
Wewill
oneaddition,
asitcompletes
purpose?
only
suggest
thegrand
characteristic
ofMr.
idea,andisinsomedegree
Turner's
with
thesunandthestars,
there
execution,
that,
peculiar
should
bedelivered
intohishand
a comet,
whose
tailshould
himfor
a brush,
serve
andsupply
itself
with
colour.25
to
the
critical
invective
for
whichBlackwoos
Compared
was famous,
attacks
on actualpeoincluding
verypersonal
ple, thispassage does containonlya 'smalldegree' of
ridicule.26
Moreinteresting
is Eagles'schallengeto thewayRuskin
In thisreview,
Turner's
he usedthedisinterpreted
pictures.
cussionof Dido BuildingCarthage;or the Rise of the
London; & J 131)
Empire(National
Carthaginian
Gallery,
as an example.It was first
in 1815and afterwards
exhibited
on displayinTurner's
owngallery,
perhapsuntiltheartist's
a grandpainting
from
death,andwasbygeneralagreement
thedayswhenTurner
wasgreat.27
Eagleswrote:
isoccupied
ofchildren
[T]heforeground
bya group
sailing
toywhich
he[Ruskin]
thinks
tobean'exquisite
of
choice
boats,
incident
oftheruling
a whimsical
He,with
expressive
passion'.
inpraise
ofTurner,
runs
which,
here,
extravagance
commencing
alltherest
ofthevolume,
as
throughout
says- 'Sucha thought
this
issomething
far
above
allart;itisepicpoetry
ofthehighest
order'.
ofthehighest
order!
willbeour
Epicpoetry
Ungrateful
- ifsuchisdone
ifthey
future
donotlearn
from
this
epicpoets
willillustrate
a kite
far
byboys
sailing
toyboats,
surely
boys
flying
28
better
thegreat
astronomical
of
our
knowledge days
The discussion
of Turner's
artthenmoved,as it did in so
to a moregeneralassessmentof Turner's
manyreviews,
career,based on Eagles'slong memoryof exhibitedpictures.29
A lengthy
review
alsoappearedintheAthenaeum,
written
and criticGeorgeDarley(1795by the poet,playwright,
1846),who- likeEagles- was one of thecriticsexplicitly
attacked
byRuskin.He too objectedto bothRuskin'slanHe likenedthewriting
guageandhisimageoftheartist.
style
to thatof William
Hazlitt:'Boldnessand brilliancy,
bigotry
amidstliberality,
andgreatacutenessamidstillgreater
blindness'.30Furthermore,
Ruskinused the same 'burlesque
similitudes
andludicrous
inperianalogies'thathe criticized
odicalcriticism.31
Darleyalso quotedthepassageaboutthe
'WhatmorelightangeloftheApocalypse,
askingrhetorically
headedrhomontade
couldbe scrawled,
exceptuponwalls,
or hallooed,exceptthrough
thewards,ofBedlam,thanthe
annexedpassagepresents
us?'Remarking
thatRuskin's
worship of Turneris not 'blasphemousbecause it is
he endedhisquotationwiththeconclusion
crack-brained',
toModernPainters
:
stands
from
which
helooks
back
[Turner] uponaneminence,
over
theuniverse
ofGod,andforward
overthegenerations
of
men.
Letevery
work
ofhishand,
bea history
oftheone,anda
lesson
totheother.
Leteachexertion
mind
beboth
ofhismighty
- revelation
andprophecy
totheDeity,
to
,- adoration
hymn
32[Darley's
mankind
italics]
thereasonfortheextravagance
of thelanDarleythought
clear:
was
guage

Mr.
Turner's
desirous
that
hisfast
should
doxologist,
paragraph
out-do
alltherest,
has
efforts,
yetexhausted
byhisantecedent
herewrought
hiseloquence
andhence
uptoanunnatural
pitch;
inhisparoxysm
ofpanegyric,
between
cannot,
distinguish
genuineheartfelt
andwildhallelujahs.
Hereminds
usofa
praise
whoattheendofhiswell-sustained
reelfalls,
Dervish,
Whirling
with
a higher
anda shriller
intoa fit.33
shriek,
jump
The imagesofTurner
thereviewers
objectedto - especially
as theangeloftheApocalypse
or as a makerofhymnand
- expressRuskin's
visionoftheartist
as a Romantic
prophecy
hero.Blessedwithextraordinary
he
was
genius,
persecuted
neither
theman
bya cruelworldwhichproperly
appreciated
norhistalent.
Thisconception
determined
Ruskin's
viewsin
everyrespect.GeniusassuredTurner'sposition'upon an
of
eminence,fromwhichhe looksbackovertheuniverse
God and forward
overthegenerations
of men'.The same
idea of the artistdetermined
Ruskin'smethodof reading
Turner's
Since,as worksofgenius,theywerebydefpictures.
inition'bothhymnand prophecy',
the picturesinevitably
became'a history
of [theuniverse
ofGod] and a lessonto
of man]'.Ruskin'sconceptionof 'lesson'
[thegenerations
was veryspecific.A 'revelation
to mankind',
thislesson
of prophetic
expoundedthegrandest
messagesfromeven
the humblest
material.
inclinedto findsymbolic
Although
inallart,Ruskin
assumedthathe wouldfindthem
meanings
in theworkofa prophet.Finally,
critical
ofwhich
hostility,
Ruskin
mademuch,provedthatthepainter
wassuperior
to
histime.It also gaveRuskinhisroleas defender
ofmisunderstoodgreatness.
ThestanceRuskin
, ofan isoadoptedinModernPainters
latedcritic
an embattled
is thesameone he
artist,
defending
hadusedinhisletter
aboutTurner
toBlackwood'sas wellas
in one ofhisearliestworksofcriticism.34
Thiswasan essay
written
forhisOxford
tutorinthesameyear,1836,an impasdefenceof SirWalterScott,Sir
sioned,even intemperate
EdwardBulwer-Lytton,
andLordByronagainst:
ladies
their
heads
atus,oldmaids
their
sticks
at
Quaker
shaking
oldgentlemen
their
fists
atus,andugly
us,crabbed
(bycourtesy
ladies
their
atus.Here's
a pretty
mess
we
plain)
young
tongues
- thevoices
havegotinto!
of
Gruff,
shrill,
squeaking,
whistling
multitudinous
discord
astonish
ournerves:
'Howfalse!
how
untenable!
howshocking!
howimmoral!
howimpious!'
(1:359)
Tomention
BrideofAbydos
causedthe
Byron's
dustandashesofcriticism
before
oureyes,
[to]become
living
anda murmur
ofindignation
arises
from
themultitudes
of
But
the
name
hath
touched
us
with
its
and
crawling
things.
fnger,
ourbrain
isburning,
ourheart
isquivering,
oursoulisfilli
of
light.
becausehe wasa
Byronwasa greatpoet,Ruskin
explained,
'mostmiserable
man',hispoetry'wrungoutofhisspirit
by
thatagony'.(1:372-3)Noneofthisgreatness,
was
however,
apparentto 'thesedogs thatbay [at]themoon,thesefoul
snailsthatcrawlon intheirdespicablemalice,...theseGrub
Streetreptiles
...' (1:375)
In theconception
oftheartist,
attitude
toward
theperiodical critics,and use of extravagant
emotionallanguage,
ModernPaintersresembles
thesetwoessaysfrom1836.In
theinterim,
Ruskin
hadreadThomasCarlyle,
who
however,
framework
forthese
providedhimwitha largerintellectual
ideas.35
inhisdiarytoCarlyle
Thefirst
reference
appearedin
On Heroesand Hero-Worship
1841,whenhe notedreading
,
a seriesof lecturespublishedin 1840.36
It was fromthem,
to hisadmirer
and biographer
WGCollingwood,
according
thatRuskin
received
theideaofhismission
inlife:'Totellthe
63

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ART
Volume
X,No.1 TheBRITISH
Journal
as we have seen themdoingin the Cockney
worldthatArt,no less thanotherspheresof life,had its maritime,
of theirenergywas Sincerity, Arcadiaof HampsteadHeath'.44
Farmoreseriouswas how
Heroes;thatthe mainspring
Truth.'37
Pastand
'ourauthorappearsto us to be wilfully
blind
andtheburdenoftheirutterance,
andperversely
Carlyle's
in 1843,alsoinfluenced
him.38
Present
to greatand glaringdefectsin the painter'.Turner'is the
, published
Artist- slaveofcrochets,
ModernPainterspresentsTurneras a Carlylean
andoffantastical
ambitions
toachievemanof'sincerity'
Hero.Theimportance
and 'truth'
andtheways ifestimpossibilities'.
The picturesTurnerexhibited
at the
- once again- 'gross
in whichTurner
conquereda worldthattreatedhimbadly Academythatyeardemonstrated
follow
oftheheroinitsvariousitera- instancesof the falsehoodinto which [his] deficiencies
Carlyle's
development
him'.5Severalpagesaboutthepaintings
tions. Althougheach lecture discussed a different betray
endwiththe
of thetype,'at bottomtheGreatMan,as he
manifestation
remark
thatit is to be 'lamented
thattheOxfordGraduate
ofthiseccencomesfromthehandof Nature,is everthesame kindof shouldhavebeendazzledbythefantastic
lights
.. [and]onlybytheworld'sreception
ofthem,andthe tricpainter'.46
thing.
diverse'.The
On 19 December1851,Turner
critical
died,and thelively
shapestheyassume,aretheyso immeasurably
of Carlyle'sheroicman is 'sincerity
firstcharacteristic
discourseabouthimand hisartsuddenly
cameto an end.
,a
ofpictures
inexhibition,
a sincerity
'thatdoes not Without
theregular
the
deep, great,genuinesincerity',
appearance
he cannothelpbeingsincere!'Further, reviewers
no longerhad reasonto writeabouthim.Nowit
dependon himself;
'hisutterances
are... a kindof"revelation"...
whobrought
thesubjectofTurner
It is fromthe wasRuskin
intothepubin
ofthewayhe
licarena.Themostimportant
workswerethethird
lecture
heartoftheworldthathe comes'.39
Regardless
'he willreadtheworldand itslaws'.His Lectureson Architecture
and Painting
, deliveredin
expresseshimself,
whichhe
on 15 November1853,and publishedin 1854
ultimate
Edinburgh
purposeisto'revealthat... sacredmystery
morethanothersliveseverpresent
with....without
consent (12:102-33);the thirdand fourthvolumesof Modern
askedofhim,he findshimself
livingin it,boundto livein Painters,publishedin 1856 (5:1-417;6:1-466);a seriesof
In alloftheseways,Ruskin's
it'.40
Turner
fitsthetype.
booksaboutpicturesin theTurner
Bequestthatappeared
and
Ruskin
alsowasinfluenced
beliefintheessen- between1856and1859(13:81-388);
thefifth
and,finally,
byCarlyle's
tial role playedby the unconsciousin the process of finalvolumeof ModernPainters(7:1-460),publishedin
Thisis mostfully
inthesecondvolume I860.Thevariouscatalogues
oftheBequestpresent
creation.41
Ruskin's
expressed
ofModernPainters,
ina relatively
whichappearedin 1846.In a discussion viewsaboutTurner
butitis
fashion,
systematic
abouttheimagination,
Ruskin
wrote:
thelastvolumeofModernPainters
someofthe
thatprovides
best-known
Ruskin's
set-piecesaboutthe artist.Especially
isinevery
word
setdown
mind
an
bytheimaginative
[Tjhere
of
the
of
and
Turner
boyhoods Giorgione
comparison
awful
under-current
ofmeaning,
andevidence
andshadow
upon
became
famous
at
once
(7:374-81).
itofthedeepplaces
outofwhich
ithascome.
Itisoften
obscure,
By the 1850s,Ruskin'sideas had becomewellenough
often
for
hewhowrote
ofthe
half-told;
it,inhisclear
seeing
Anearlyuse ofthe
known
to be referred
to as 'Ruskinism'.
of
have
been
detailed
beneath,
things
may
impatient
interpretain
term
occurred
when
on Ruskinism
1851,
Something
ifwechoose
todwell
tion:
but,
it,itwillleadus
uponitandtrace
a
and
an
Ruskin's
appeared,
poem
essay
criticizing
writings
backtothat
ofthesoul'sdominion.
always
securely
metropolis
about
with
scattered
references
to
Turner.47
architecture,
only
(4:252)
Periodical
reviewers
moreand moreoftentreatedseveral
The 'clearseeingofthethingsbeneath'is Carlyle's
'revelaat once,orconceived
ofhiswritings
as a whole.
publications
tion... fromthe heart of the world',but the 'awful
In manyarticles,
in
those
that
especially
appeared themost
of meaning',the 'shadow',reflectRuskin's
under-current
Ruskin'sideas about
intellectually
prestigious
periodicals,
ownapproachto interpretation
(see below).
Turner
continued
to be attacked
Amongthebest
vigorously.
ofthesecondvolumeofModernPainters
Thereviews
, at
knownofthesesummary
evaluations
aretwoverylong,very
leastin so faras theyconcernedTurner,
mostlyrepeated
articles
thatappearedin 1856,one intheQuarterly
theobjections
thathadbeenmadeaboutthefirst.
Thecrit- negative
ReviewbyElizabeth,
LadyEastlake(1809-1893)[see theartiic in the Athenaeum
, again George Darley,wrotethat cle TomDevonshire
inthisnumber
ofThe
Joneselsewhere
by
Ruskin's
a newspa'styleofeloquencetoo muchresembles
British
ArtJournal
an arthistorian
andcritic
as wellas wife
,
]
per critic'sforour taste.Indeed,were we not told our of Sir CharlesLock Eastlake,the President
of the Royal
authorwas an Oxonian,we shouldconjecturehimone of
and the otherin theEdinburgh
Reviewby the
Academy,
thosecleveryounggentlemen
calledReporters'.
Periodical
critic(mostly
fortheAthenaeum)
as
music,art,and theatre
criticism,
however,'does not, like his, pretenditselfa
wellas writer,
Defences
Henry
Fothergill
(1808-1872).
Chorley
buffooneries, ofRuskin
seraphichosannasuperiorto all mockeries,
inthefaceofthesescathing
attacks
appeareda few
and farce.Couldthefoulest-mouthed
Journal
disembogue monthslaterin theNationalReviewand theWestminster
less respectful
and reckful
lanagainsthisidol,Mr.Turner,
Review
article
ythelatter
byGeorgeEliot.48
than
his
own
certain
ancient
masters
guage
against
[?]'42In
The objectionswere several. First,manyexpressed
ofhisgodresemblethepaintings
fact,'hiswritings
greatly
from
atRuskin's
claimthathe hadrescuedTurner
incredulity
turnedintowordspictorial;
theyare fullof Turnerisms
scornandisolation.
One ofthemostforceful
statements
was
and
beauties,garishbrilliancies,incomprehensibilities
made by CharlesRobertLeslie,a painterand friendof
all mingledtogether'.But, 'notwithstanding
absurdities,
whowrotethatRuskin's
lectureat Edinburgh:
Turner's,
whatwe havesaid,and leftunsaid,...thebook beforeus
... draws
a touching
oftheneglect
in
andloneliness
picture
servesperusal,deservespraise....letus recommend...
this
which
This
TUrner
died.
must
lose
much
ofits
however,
picture,
volume'.43
veryperturbative
intended
effect
when
itisknown
that
suchseclusion
wasTurner's
Evenrespectful
suchas thataboutbothvolumes
reviews,
ownfault.
Nodeath-bed
couldbemore
surrounded
byattentive
thatappearedin theForeignQuarterly
Review
, criticized
his
hisfriends
friends
than
have
had
he
chosen
to
let
been,
might
saidaboutTurner.
whatRuskin
Ruskin's
Again,
interpretation
know
where
helived.
Hehadconstantly
which
dinner
invitations,
of the childrensailingboats in the foreground
of Dido
heseldom
evenanswered,
oftheinviter
butappeared
atthetake
and trivial.
BuildingCarthagewassingledoutas 'fantastical
ornotasitsuited
him.
Hisletters
were
addressed
tohimathis
Agroupofchildren
maysailtoyboatsinplacesbyno means
64

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ART
TheBRITISH
X,No.1
JournalVolume
truthshe had seized,nor understoodthe natureof the
inQueen
butthewriters
never
knew
where
house
Anne
Street;
instinct
thatcombinedthem'.(6:274-5)The storywasflatly
hereally
resided.49
deniedbyRuskin's
friend
theRevdWilliam
who,in
Kingsley
critics
commanded
Periodical
agreed.Onewrotethat'Turner
to
of
an
the
seventh
edition
the
appendix
catalogueofthe
ofhispencil;
and receivedlargepricesfortheproductions
ArtSocietyexhibition,
that'No greater
nonsense
Fine
noted
hisworkswereconstantly
beforetheeyeofthepublic;and
can be utteredthanthe storyof Turner'ssayingthatMr.
he died at an advancedold age'.50Chorleyremarked:
had not
Ruskinsaw thingsin his picturesthathe himself
as itmayseemtoMr.Ruskin,
Turner
hashisEnglish
'Strange
of.... [I]t musthavebeeninvented
forthepurpose
thought
and hisEnglishpublicpriorto theyear1846.'
appreciators
of disparaging
bothTurnerand Ruskinbysome one who
he added,theartist'notonlylivedto see hisfame
Further,
A notebyRuskin
knew
neither'.
appearedat thebottomof
butinthecourseofa longlife,he
riseabovevulgar
criticism,
thepage:'I'mso gladofthisbit.Nothing
everputsmemore
realiseda largefortune
by his works.Therewas no cruel "beside
than
this
assertion'
myself"...
vulgar
(13:585-6).In
neglect'.Severalcriticssuggestedthatit was Ruskinwho
who
knew
both
men.
it
was
repeatedbypeople
neededTurnerand not the reverse.Chorleywas one of fact,
owesa greatdealmore[thanTurner
could
them:'Mr.Ruskin
consistsof
difference
betweenRuskinand hiscritics
he hascontrived
toborrowfrom This
owetohim]tothecelebrity
ofspecific
morethantheinterpretation
detailsinparticA criticforBlackwoos ularpictures.
so greatan artistas Mr.Turner.'51
It lies in thebasicmethodof understanding
'Hisfulsome
adulation
ofTurner
is
them.WhatRuskintookto be intendedsubject,opening
Magazinewasdisgusted:
ridiculous.
Turner's
fameowesas muchtoMr.Ruskin through
a reading
ofsymbols
toa larger
simply
sphere,mostartcritas Shakespeare's
does toMr.CharlesKean.'52
as rhetorical.
Thispointofviewwasnotthe
ics understood
an 'apotheosis resultofa changeinTurner's
Reviewers
wascreating
inhislastyearsorthe
arguedthatRuskin
pictures
forwhichhe 'erect[ed] a pileof dead painters' superficiality
ofTurner',
ofexhibition
reviews.
The approachhadbeen
coffins
on whichto rearup hisstatue.The templewhichhe
sincethe1810s,articulated
bysomeofthemostperpresent
he wouldhavesur- ceptiveobserversof the art. Ratherthan interpret
buildsforthe idol of his imagination
the
withrailings,
liketheKingofDahomey'sPalace,and Carthaginian
rounded
of
modof
the
mid-1810s
as
allegories
pictures
Thisdestruction
of ernBritain,
on everyrailtheskullofa dead rival'.53
to
forexample,
almostallcritics
tookthesubjects
and workof otherpainters,oftenusing be evidenceofTurner's
the reputation
The reviewer
for
artistic
ambition.
as
stillseemedas objectionable
and editor
theSun, almostcertainly
theveteranjournalist
language,
extremely
negative
what Ruskinthoughtabout Turner.If, wrote Walter JohnTaylor
of
traditional
art
used
the
(1757-1832),
language
in the Athenaeum
whenhe wrotethatDido BuildingCarthage'is in
, Ruskinsimplysaid that criticism
Thornbury
with
thegrandstyle,and theeffects
'thoughhonest,vigorous,and dewy,[Constable]took a
producedcorrespond
andwasconven- theclassicaldignity
viewofEnglish
restricted
fortheSt.
ofthesubject'.The reviewer
nature,
parochial
and treatment',
thereadercould James'sChronicle
tionaland dullin texture
its
described
, usinga different
vocabulary,
intol- greatness
in termsofeffect
thanstyle:'Theeyerests
rather
accepthisopinion.Instead,he 'railsinthiswholesale,
it was the same Walter buta moment
on [thepainting]
beforeitstranscendent
erant,foolishway'.54Ironically,
qualofTurner
so depen- itiescompletely
whopublished
thebiography
Thornbury
occupythemind,and itis feltto be one of
dentuponRuskin
those sublimeproductions
whichis seldommetwith'.58
justtwoyearslater.
of the pic- Similarly,
's interpretations
withRuskin
TheDeclineoftheCarthaginian
Disagreement
Empire(Turner
in 1817,was 'an
& J 135),exhibited
tures,suggested
bysomecriticsduringthe 1840s,became Bequest,TateBritain;
was blunt:'[Ruskin]sitsdownand idealcomposition
vociferous.
Thornbury
upona largerscale'.In it,wroteanother
on buildings
and pictures....Turnerwas critic,
inventsthoughts
Turner
'embodiedthewholespiritofVirgil's
poetical
as Mr.Ruskin'.His readings description
neverso mucha Turnerite
of
andsolemnity
oftheevent,itsawful
grandeur,
fantastic
sophistical,
[mind, effect'.59
dependeduponhis'supersubtle,
- William
In
ofallegory'.55
threads
whichis] fondofsmallandintricate
oftheexhibition
reviewers
Eventhemostliterary
FG
ofthefifth
volumeofModernPainters
a review
or
or
William
, Stephens Hazlitt,
sympaThackeray sophisticated,
say,
themeaningRuskinfoundin thetitlesof theticviewers
criticized
andWilliam
suchas theartists
sharply
JohnLandseer
Turner's
did
pictures:
personally)
HenryPyne(bothofwhomalsoknewTurner
fortheseworks.
notsuggesta symbolic
Again
interpretation
oftitles
forhis
that
Turner's
choice
Theopinion,
sogratuitous,
and again,criticsinsistedthat'likeClaude,Turnertakesa
in
from
hadmore
sofrequently
taken
Greek
mythology,
pictures,
as a merenameto
orancienthistory
subjectfrom
mythology
with
his
connected
meets
theeye,andwaspoetically
itthan
titles
Some
found
sugpretentious,
particular
produce'.60
that
marvellous
would
amaze
ofGreek
traditions,
knowledge
In
did notfulfill.
claimsthatthepictures
gestingambitious
artist.56
the criticfor the St. James'sChronicleattacked
1814,
butthathe found
was notjustwrong,
The ideathatRuskin
&
Dido and Aeneas(Turner
Turner's
Bequest,TateBritain;
thattheartisthad notintended,
inTurner's
pictures
things
'To attachsucha pompousname...to a picturein
J
129):
anecdote.Various
gainedsupportfroman often-repeated
over
arescattered
a fewlittleandvilely
drawnfigures
heard
Turner
remarkthat which
claimed
to
have
contemporaries
deservesstrongreprobaof
a
the
foreground
landscape,
thanI do.
'knowsa greatdealmoreaboutmypictures
Ruskin
without any
tion.'61Other titles seemed arbitrary,
He putsthingsintomyhead,and pointsout meaningsin
couldbe seeninthework.In 1828,Dido
to
what
relationship
in
Ruskin
addressedtherumor
themthatI neverintended'.57
the
ofthe
oftheFleet,or TheMorning
: 'Foolishpeopleare Directing Equipment
thefourth
volumeofModernPainters
&J
TateBritain;
Empire
(Turner
Bequest,
Carthaginian
a story
whichhasgonethefullroundofthe
fondofrepeating
In 1836,
wascalledjust'a fancy
titleto a fancy
picture'.
some day,somewheresaid to 241)
artistical
world,thatTurner,
forthe SpectatorwrotethatJulietand her
the reviewer
(time,place,orpersonneverbeingascertainable), Nurse
somebody
else'.In 1843,
as wellhavebeencalledanything
'might
inhispictures
whichhe didhimself
thatI discovered
things
version
of
declaredabouthishumorously
garbled
Thackeray
notknowwerethere.'Ifthiswas true,Ruskin
concluded,it the titleof
the
and
Colour
(Goethe's
Theory)
Light
'neither
was awareof thevalueof the
was becauseTurner
theBook of
MorningaftertheDeluge - Moses Writing
65

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ART
TheBRITISH
X,No.1
JournalVolume
Genesis(HimerBequest,TateBritain;
& J405),'Thismay mostimportant
discussionsof it occurin threeplacesin
notbe theexacttitle,
In the ModernPaintersand in a singleextendeddescription
butitwilldo as wellas another.'
in
nextyear,a criticforTheNewMonthly
House, 1856.In
Magazinedescribed Noteson theTiirner
Galleryat Marlborough
Turner's
labels'as 'ludicrously
in1849,a
theformer,
he calledthepainting,
unmeaning'.
Finally,
alongwithSlaversand
in theArtJournalthatHimer'followsas Julietand her Nurse, perfectworks,equal to worksby
criticremarked
as he can the"goodold plan"of [SirWalter]
ScottPhidiasor Leonardo,'incapable...ofanyimprovement
connearly
thatofselecting
whichshall,merely
as tides,convey ceivablebyhumanmind'.(3:248)AsinSlavers
titles,
, thecolours
to the...reader.'62
of theFighting
are symbolic.
Temeraire
Himerchose the
nothing
The fundamental
difference
betweenthetwoapproaches 'deeplycrimsoned
sunset'sky,thecolourofblood,to indican be seen in theresponsesto TheFighting
of death,especiallythe deathof
'Temeraire', cate the 'circumstances
toHerLastBerthToBe BrokenUp (HimerBequest, multitudes'
to Ruskin,
the
Tugged
(6:381).Furthermore,
according
NationalGallery,
almost workhad personalmeaningforHimer.It represented
the
London; & J 377). The painting,
ofa vowmadewhilehe was a smallboyplaying
universally
praisedwhenit was shownat theAcademyin fulfillment
in
on
Hirner's
of
went
view
after
the
close
the
the
1839,
Gallery
among shipsoftheLondonharbor:
exhibition.63
the1850s,includManyofthosewriting
during
shall
haveitstribute
ofmemory
someday.
Which,
Trafalgar
hadseenthepainting
at theAcademy,
andsome
- once,
ingRuskin,
isaccomplished
with
allourmight,
for
its
accordingly,
hadwritten
aboutitatthattime,andso thediscussion
canbe
with
allourmight,
foritsvictory;
inpensive
death;
twice,
thrice,
saidto haveextended
overtwodecades.Typical
oftheoverfarewell
totheoldTmraire
order
ofthings.
,andwith
it,tothat
reviews
itoriginally
receivedis one that
whelmingly
positive
(7:379)
:
appearedintheMorningChronicle
It is withtheseremarks
thatRuskinmadethepainting
into
inthecontemplation
There
issomething
ofsucha scenewhich
otherthana suggestive
ofa consomething
representation
affects
asdeeply
asthedecay
usalmost
ofa noble
human
being.
sunsetto blood,and
subject.To likena crimson
temporary
Itisimpossible
togazeattheremains
ofthis
andvenmagnificent
thusreadthepainting
as a sceneofdeath,goesbeyondthe
erable
vessel
without
tousetheworks
ofCampbell,
recollecting,
associative
ofthepicturesque.
Thereviewer
forthe
pleasures
'howmuch
shehasdone,
andhowmuch
shehassuffered
forher
Athenaeum
also calledthelight'blood-red',
butforhimthe
Inhisstriking
Mr.
Himer
hasindulged
his
country.'
performance
colouronlygavea solemnmoodtothescene- andeventhat
loveofstrong
andpowerfully-contrasted
colours
with
taste
great
wasoffered
after
due apologyfor'thisfanciful
modeofinterAgorgeous
andpropriety.
horizon
intimates
that
the
poetically
pretation'.Ruskin,by contrast,
chargedthe colourwith
inglory.
sunoftheTemeraire
issetting
the'circumstances
ofdeath',
specific
meaning.
Byindicating
The reviewer
fortheAthenaeum
wentevenfurther
in the itbecomesa keythatturnsone thingintoanother.
Rather
direction
ofa symbolic
identi- thanenhancepictorial
elements
withadditional
resonances,
reading,
although
specifically
itas a 'fanciful
modeofinterpretation':
Ruskintransformed
them.Withproperinterpretation,
the
fying
hidden
becomes
manifest.
It
is
the
and
not
result
meaning
Asort
ofsacrificial
isgiven
tothescene,
solemnity
bythebloodtheprocessthatmatters.
redlight
castuponthewaters,
sun,and
bytheround
descending
Thelinking
ofHirner's
toa childhood
vowis also
painting
from
thefaint
crescent
which
silmoon,
bythepaler
gleam
rising
an
act
that
transforms
the
First,the
interpretative
picture.
vers
themajestic
andthetowering
and
the
hull,
masts,
taper
Threepictures
ofTrafalgar,
ofthedoomed
inthewake
ofthesteam-boat vowitselfis Ruskin'sinvention.
vessel,
spars
gliding
thedeathof Nelson,thebattleitself,
and the
- which
latter
this
fanciful
modeofinterpretation) representing
(still
following
retirement
of
the
constitute
his
of
evidence
ship,
only
almost
tothepicture
theexpression
ofsuchmalignant
gives
In
Hirner's
the
histories
of
the
make
fact,
promise.
paintings
as
benefit
an
executioner.64
alacritymight
itclearthattheyare notrelated.66
The idea ofa motivating
Bothofthesecritics,
likemostoftheircolleagues,
madethe
vowchangesthenatureofthepainting,
however.
Insteadof
central
totheirreading
ofthepainting.
processofassociation
a responsetoa contemporary
ofobviouspatribeing
subject
ofthe'remains
ofthismagTheybeganwith'contemplation'
oticand poeticappeal,theFighting
Temeraire
becomesa
nificent
andvenerable
vessel'andthenwenton tothedetails
statement.
a greatmanhimself
Himer,
profoundly
personal
andcolourthattheyfeltenhancedthesentiment
ofthepicand (in Ruskin's
as a
view)alreadynascentin hisgreatness
ture.Nearly
allofthereviewers
mentioned
thesunsetas an
a 'tribute
ofmemory'
toa greateventinBritish
hisboy,
paid
, and manyremarked
appropriate
symbolfortheTemeraire
Itis,then,a workcreatedfrom
a nexusofhistorical
and
tory.
on thepoignant
ofthegrandmastedshipwith
juxtaposition
and it resultsfromHimerconfronting
the
thesteamboat.
ofthecolourwas personalforces,
Onlyin theinterpretation
of
another.
The
actual
historical
circumstances
of
theresome disagreement.
The criticfor the Morning greatness
theparticular
no roleatall.
paintings
play
Chronicle
notedthatthe'gorgeoushorizonspoetically
intiThemoreextendeddescription
oftheFighting
Temeraire
matesthatthesunoftheTemeraire
is setting
in glory'.For
inNoteson theTurnerGalleryrevealsRuskin's
methodof
theAthenaeum's
the lightadded a
reviewer,
by contrast,
evenmoreclearly.
Theanalysis
beginswithan
'sortofsacrificial
tothescene'.Inbothcases,how- interpretation
solemnity
ofthepictureas thelastone Himer'everexeexplanation
ever,the processof readingthe pictureis the same.The cutedwithhis
wasstill
perfect
power'- whenhisexecution
viewer
museson an inherently
theme,withhisor
suggestive
'as firm
andfaultless
as inmiddlelife'.Thisevaluation
opens
herreflections
directed
The
bya fewdetailsin thepicture.
thewayforthefirst
ofRuskin's
transformations
ofthework.
is
on
a
not
of
each
eleemphasis
particular
interpretation
In hisview,Hirner's'periodofcentralpower',openedwith
butrather
inthepleasureofbeingawareofthewayin
ment,
- Homer'sOdyssey(Himer
Ulysses
DeridingPolyphemus
whichone thingsuggests
another.
Itis lessthefinalresultNational
at
London; & J330),exhibited
Gallery,
- thantheprocessofviewing
that Bequest,
anysortoffixedmeaning
the Academyin 1829, and closed with the Fighting
Thisis theapproachbywhichthepicturesque
had
delights.
Temeraire.
PairedbyRuskin,
thetwopictures
becomesymbeendefined
some50yearsbefore.65
bolsofHirner'sbiography.
Eachis,'inall thecircumstances
Ruskin's
different.
He considered
approachwasdecisively
ofitssubject,unconsciously
illustrative
ofhisownlifein its
theFighting
Temeraire
a central
workinHirner's
career.The
As the'unconsciously'
Hirner'sintenindicates,
triumph'.67
66

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ART
Volume
X,No.1 TheBRITISH
Journal
ofRuskin's
tionis notanissuehere.Butitis typical
approach
Noneofthese
thebest,
that
however,
things
very
glorious;
neither
the
thatthislimitation
changes courseof his arguitseems,
wasthen
abletoprovide
for
a boyofgift.
England,
mentnorlessensitspassion.Hisdiscussion
goeson:
(7:375-6)
I donotsuppose
that
as
his
often
Turner,
deep
bye-thoughts
In spiritand in fact,Ruskin's
accountcontrasts
with
sharply
ineither
hadanyunder
ofthese
as
were,
but,
pictures:
meaning
the presentation
of Turner'schildhoodthatappearsin
setsforth
hisescapetothewild
asthefirst
accurately
brightness biographies
in
publishedduringthe 1850s.One,published
ofNature,
amidst
allherhappy
sodoesthelast
toreign
spirits,
summarizes
the
most
earlier
1860,conveniently
important
oftheThames:
setforth
hisreturning
todiebytheshore
thecold
allofwhomhadknownTurner:
authors,
mists
overhisstrength,
andallmencrying
outagainst
gathering
Someninety
Covent
Garden
wasa fashionable
years
ago,when
" outoftheir
anddragging
theold"fighting
Tmraire
him,
way,
ofthetown,
itwasfamed
foritsperruquiers
,orhairpart
with
dim,
contumely
fuliginous
anddealers
inarticles
ofdress
andpersonal
dressers,
ornament,
reasonforTurnerto
Thissectionends withan additional
andthestreets
..
were
crowded
with
atshopping
hours..
carriages
withthesubject:
havehad a specialemotional
engagement
inthesignoftheWhite
There
isevidence
ofthis
Peruke
,
celebrity
withseamenandships'hadbeen'one ofthegov'Sympathy
inMaiden-lane,
atwhich
whowasinEngland
Voltaire,
lodged
his life'.
erningemotionsin Turner'smind throughout
three
years.
itwas'thelastofa groupofpictures',
'allillusFurthermore,
Asyouproceed
nearitswest
Maiden-lane,
end,onthe
through
ofthecentral
at
trative
ofone haunting
conception,
struggle
theCyderCellars,
about
isa
hand,
right
opposite
(opened
1730,)
atleast,thechildThus,byimplication
Trafalgar'.
(13:168-70)
small
with
anarched
named
entrance,
Hand-court;
paved
place,
inModernPaintersappearsagain.
hoodvowmentioned
andhere,
inthehouseNo.26,lived
atthecorner
ofthecourt,
ThesecondhalfofRuskin's
discussion
thepicture
explains
William
who"dressed
shaved
andinthedays
Turner,
beards,
wigs,
as 'themostpathetic
thatwaseverpainted'ofa subject'not
ofqueues,
andhair-powder,
waited
onthegentlemen
top-knots,
humanpain'.Onlyat a fewpointsdoes the
visibly
involving
oftheGarden
attheir
ownhouses,
andmademoney
byhistrade,
descriptionsuggestwhat the paintingactuallyshows.
then
a more
than
that
of
a
hair-dresser
of
flourishing
profession
ofEnglish
'[T]hosesidesthatwerewetwiththelongrunlets
thepresent
..
day".
likepress-planks
atvintage,
life-blood,
gleaming
goodlycrimorinwhat
theyoung
Turner
first
evinced
a lovefor
When,
way,
son downto thecastandclashofthewashingfoam'might
noonehastoldus....[W]hen
ashe[thefather]
often
art,
asked,
be readas an imaginative
ofthereddishglow
interpretation
what
isWilliam
tobe?"hewould
with
a
was,"Well,
Turner,
reply,
the'palemasts',mentioned
castbythesunlight.
Similarly,
by
lookofdelight,
"William
isgoing
tobea painter."
Hewas,accordofthepicture,
manyreviewers
'stayedthemselves
up against
with
watercolours
andbrushes,
andthefather
was
ingly,
provided
thethunder,
thewar-ruin,
outtheirensignsthrough
shaking
toshowhiscustomers
theboy's
coloured
He
proud
drawings.
tillthesailand ensigndrooped- steepin thedeath-stilled soonevinced
skill
these
andwas
exercises,
beyond
boyish
withitswitness-cloud
of
air,burning
pause of Andalusian
to
colour
Smith,
John
by Raphael thecrayonemployed
prints
humansoulsat rest'.One of theconcluding
sentencesis:
wholived
inMaiden-lane,
andmezzotinto
and
painter
engraver,
'Nevermoreshallsunsetlaygoldenrobeon her,norstarlight next
inKing-street,
Garden.
Another
ofSmith's
colourers
Covent
At
tremble
on thewavesthatpartathergliding'(13:170-72).
atthis
wasThomas
.. andfrom
himitwasthat
Girtin.
period
no point,however,
is thedescription
linkedto specifclearly
Turner
his
love
for
acquired
landscape-painting.^
ic visualdetailsfoundinthepainting.
Timbsaddedthattheartist
ThomasStothard
'wentone day
AlthoughRuskin'smethodbeginswithan associative to Turner,
in Maiden-lane
thehair-dresser's
to gethis
shop
thatprocessintosomething hair whenthebarberremarked
process,itendsbytransforming
to himin conversation,
cut,
else.Without
a clearsenseoftheobjectorviewthatinspired
The senseofcommuni"Myson is goingto be a painter'".70
ina leisurely
histhoughts,
we cannotparticipate
exploration
ofparental
ofconnections
to a larger
worldinto
ty,
support,
of
to theconclusion
ofthesubject.Instead,emphasisshifts
in Timbs's
whichTurnercould advance,are so persuasive
becomes
theprocessand,withthischange,interpretation
of
accountthatitis a surprise
to encounter
Ruskin's
version
Without
theflexibility
meaning.
implied
bya senseofprocess thissameperiodinTurner's
lifeinan appendixattheendof
ofalternate
Ruskin's
or thesuggestion
explication Timbs'sbook.71Ruskin's
readings,
darktalehas noneofthesenseof
we
becomesthe single,trueunderstanding.
Furthermore,
noneofthehumandimension,
ofthebiographies
possibility,
has
cannotchallengeit,sincehisinterpretative
description
howofthe1850s.Theaddition
ofRuskin's
famous
set-piece,
effectively
replacedtheobjectofanalysis.68
is evidenceofhowquicklyitgainedan audienceand
ever,
ofTurner's
alsoappearsinhistelling
Ruskin's
interpretation
replacedtheolderaccount.72
ofTurner's
as inthefamous
boyhood,
description
biography,
Ruskin's
viewsreceived
newattention
after
thepublication
:
whichappearsinthelastvolumeofModernPainters
of WalterThornbury's
LifeofJ.M.WTurnerin 1862.73His
corner
ofCovent
a square
brick
Near
thesouth-west
Garden,
pit
wrote,was'to paintthemanas I really
ambition,
Thornbury
block
ofhouses,
tothebackwinorwellisformed
bya close-set
believehe was;an imageofgoldwithclayfeet'.Tothatend,
itadmits
a few
oflight.
Access
tothebottom
dowsofwhich
rays
he woveeye-witness
bitsofhistory,
accounts,
letters,
stories,
a lowarchway
and
ofitisobtained
outofMaiden
Lane,
through
andoverblown
andwilddescriptive
passagesintoa rambling
aniron
andifyoustand
under
thearchway
to
gate;
longenough
tribute
to
the
Mr.
Turner.
There
is no
unreliable
late,
ly
great
accustom
seeontheleft
hand
youmay
your
eyestothedarkness
inThornbury's
is a central
book.
questionthatRuskin
figure
access
toa respectable Theauthoremphasized
a narrow
which
door,
formerly
gavequiet
bothRuskin's
oftheproject
approval
ofwhich
thefront
intoMaiden
barber's
window,
looking
shop,
and the help he gave along the way.In his preface,
Amore
fashionable
itis
isstill
extant...
Lane,
neighbourhood,
statedthehopethat:
Thornbury
now- never
a cheerful
one...
said,
agothan
certainly
eighty
years
with
heldbythegreat
ofTurner's
life
those
Myviews
may
agree
... [0]fthings
besides
menandwomen,
beautiful,
dusty
ofhisgenius.
... I havesought
nottoputhimona highexponent
sunbeams
thestreet
onsummer
mornings;
deepfurupordown
ofhisgreat
erora lower
throne
than
that
whereon
thegenius
atthegreengrocer's;
of
rowed
magnificence
cabbage-leaves
butrather
togather
fresh
hasalready
him,
exponent
placed
inwheel-barrows
round
thecorner;
andThames'
shore
oranges
ofhisgenius
from
ofhispersonal
therecords
history.7^
proofs
within
minutes'
race.
three
67

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ART
TheBRITISH
X,No.1
JournalVolume
wona remarkable
Thornbury
Revealingly,
degreeofapproval
his'Life
ofTurner'
issimply
themost
tions,
deplorable
pieceof
ina letfrom
Ruskin.
Ruskin
called
work
'dreadful'
Although
that
haseverfallen
inourway.
Ina certain
sense,
book-making
terto hisfather,
itstravesty
offactual
particularly
lamenting
Mr.
account
ofhisoperations
becorindeed,
Thornbury's
may
he addedthat'inThornbury's
viewoftheman,the
accuracy,
forthebookdoesexhibit
ofthespirit
ofresearch
rect,
something
book is betterthanI expected'.(13:554nl)WhatRuskin
ofa Paris
whogoesabout
with
hisbasket
andpicks
chiffonier,
up
is thatThornbury
meant,clearly,
closelyfollowedhis own
inhisway;
bitoffilth
andtinsel
that
comes
butfor
every
anyrealof Turner.
Thus,forexample,the biography lyaccurate
descriptions
offacts
tobeknown,
for
investigation
worthy
any
quoted a passage fromModernPaintersabout Turner's
useful
areascertained,
wemust
not
facts
judgments
upon that
nature- exactly
thekindofcharacterization
thathad been
looktoMr.
Thornbury.80
criticized
so severely:
The reviewers
further
as theyhad aboutRuskin's
observed,
inthis
what
itwasfor
a mantoliveseventy
hard
Imagine
years
that
the
facts
of
Turner's
careerdidnotsubstantiate
books,
with
thekindest
heart
andthenoblest
intellect
ofhistime,
world,
Thornbury'simage of persecuted genius. Ironically,
andnever
tomeet
with
a single
word
orrayofsympathy,
until
he
himselfprovidedplentyof contradictory
eviThornbury
felt
himself
intothegrave.
From
thetime
heknew
his
sinking
dencewithhis manystoriesaboutTurner's
fame,fortune,
him.
true
alltheworld
wasagainst
Heheldhisownbut
greatness,
andfriends.
itcouldnotbewithout
ofbearing
andhardening
of
roughness
Critics
hadno doubtthatRuskin
theauthority
for
provided
ifnotoftheheart.
thetemper,
Nooneunderstood
noone
him,
The criticfortheAthenaeum
Thornbury's
interpretation.
him.
trusted
andeveryone
cried
outagainst
him,
wrote:
Thisimage ofa 'soul [tempered
bythechillsoflife]into
Ithasbeenthefashion
oflatetospeak
ofTurner
asoneneglected
stuff
harderthansteel',as Thornbury
wroteatanother
point
tilla powerful
andpoetical
advocate
thepublic
to
compelled
- appearsthroughout
hisbiography,
withand withoutthe
attend
tohisexcellencies,What
arethefacts?
therecorded
Only
sanction
ofRuskin's
words.75
ofcontemporaries
from
thevery
moment
hetookrank
praise
also followedRuskinin discovering
Thornbury
proofof
them!one
hundred
and
thousand
among
Only
forty
pounds
Turner'salienationfromthe worldin the subjectsof his
amassed
hislifetime!
during
Thecomplicated
themesofhislateworksresulted
paintings.
The reviewin theQuarterly
Reviewreiterated
this:'It is a
from
anddespairatthewayinwhichhe wastreated.
disgust
favorite
doctrinebothwithMr.Ruskinand Mr.Thornbury,
Had he been encouragedin his earlywork,Turner
would
thatTurner
was deeplywrongedbytheworld,and thaton
havecontinuedproducing
accessiblepictures.Instead,he
theworldhis faultsoughtto be charged.We expressour
createda newstyle:'Wonderful
proofsof [Turner's]
power, entiredisbelief
ofsucha theory.'81
Sincefactual
substantiahada valueofriddles,
and tionof
experiments,
[thelatepaintings]
Ruskinand
theirimageof Turnerwas impossible,
his'peculiar
loveofmystification
prophecies.'
Theyreflected
resortedto whata reviewerforBlackwood's
which[was]theresultofsuspicious
reserve'.
Thenamesand Thornbury
called'websof cunningargument
and speciouspleading'.
to 'puzzleandtease Ruskin's
subjectsofhislateworkswereintended
commandof languagegavehiman extraordinary
thepublic'.76
inventedepisodes in advantage:
Finally,like Ruskin,Thornbury
Mr.Ruskin,
himself
a manofgenius,
knows
howtoenvelop
the
Turner's
life.Here,however,
theeffect
isverydifferent.
While
doubtful
soul[ofTurner]
hedeclares
he
indeed,
,which,
plainly
Ruskin's
inventions
transform
Turner
intoan embodiment
of
in
did
not
the
mist
and
of
the
celestial
understand,
rosy
vapours
thegreatartist,
rise
above
the
level
of
Thornbury's
rarely
goswhich
it... Butwhen
andfacts
are
gift
accompanied
daylight
famous- and
sip.Forexample,
Thornbury
quotedRuskin's
cold
and
when
luckthe
poured
killing
upon
visionary
picture
fictitiousdescription
ofTurner's
ofhisvocation
discovery
lessMr.Thornbury
asidethose
mists.
.. allunaware
puffs
splendid
as a landscapepainter:'Atlast,Fortunewillsthatthelad's
ofthehavoc
heismaking,
that
[he]reveals
shabby
reality
truelifeshallbegin.'77
introduced
a
Thornbury,
bycontrast,
below.82
seriesofunhappy
loveaffairs
intothepainter's
life.Cluesin
is
thewriting
sometimes
alertthe readerto thisprocessof The responseto thelengthy
critiquein theAthenaeum
a streamof angrylettersfromThornbury's
invention.
are intro- astonishing:
Episodesin Thornbury's
biography
thevalidity
oftheinformation
attributed
to
ducedbyphrasessuchas 'Withtheeyeoftheimagination, sourcesdenying
includesuchfigures
as thepublisher
wemustpierce... thedarkness'
or'Wemustimagine'.78
Many them.Therespondents
andindustrialist
othertimes,however,
the incidents
are wovenseamlessly LovellReeve,thecollector
M'Connell,
Henry
and old friend
intothetext.Thisisoneofthemostfrustrating
JohnPye.Allcategoriengraver
aspectsofthe andTurner's
offactsand stories
formodernhistorians.
callydeniedthetruthofan assortment
biography
1862Thornbury's
solicitor
Thornbury's
LifeofJ.M.WTurnerappearedin November foundinthebook.On 11January
thereadersofth.Athenaeum
thathisclientwould
1861 and was reviewedalmost immediatelyin the informed
becausehe was
Athenaeum.Otherperiodicalsfollowed.All of the major be unableto answeranyoftheaccusations
in
22
On
the
a
reviewers
criticized
the
contradictions,
February magazine
published
harshly
repetitions, traveling Egypt.
fromThornbury
and unsupported
thatriddleThornbury's
narra- longletterofexplanation
which,however,
allegations
theireofhiscritics.
On 18Marchtheeditor
tive.The criticfortheAthenaeum
, forexample,statedthat onlyheightened
theauthor'unwisely
to emulatein languagethat announcedthat 'this verydisagreeablecorrespondence
attempted
careerwhensobriety
and taste shouldnowcease',althoughtherewerestillmoreunpubperiodofthegreatpainter's
ofprotest.83
werecast to the winds,and whenthatwhichwas florid, lishedletters
ofTurner
continued
to complain
and experimental
Subsequent
biographers
extravagant,
incomplete
(albeitpoetical)
- andwithhim,Thornbury
- twisted
thatRuskin
thehistoritooktheirplace'.79The accountin theQuarterly
Review
;
cal
but
is
did
not
his
It
written
was
even
more
notAfter
facts,
they
ignore writings. revealing
byLadyEastlake,
negative.
inhisbook
aboutTurner
had publishedat leastninebooksand thatDuttonCookcalledthechapter
ingthatThornbury
thetimehe claimedto havedevot- Art in England.Notesand Studies
numerous
articles
, publishedin 1869,
during
thechargethatTurner
'Turner
and Ruskin'.
After
ed toTurner,
shecontinued:
repeating
aboutmypictures
had
said
Ruskin
'knows
a
deal
more
great
Butwhatever
bethemerits
ofMr.
other
may
Thornbury's
produc68

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Volume
ART
X,No.1 TheBRITISH
Journal
Ruskin's
oftheartist's
Eveniftheemotional
thanI do',anddisputing
withTurner
revealedin
presentation
engagement
Cook saidaboutModernPainters
:A
lifein manyrespects,
thiscatalogueis notgreater
thanitis in Ruskin's
otherwritmore imposingmonumentto Turner'smemorythan is
Notonlywerethepictures
owned
ings,itis morepoignant.
afforded
evidenceofhisdevotionto thepainter,
by thisbook,withall its defects,can hardlybe
byRuskin,
tangible
.' Itis 4[ejmphatically
a greatwork- a noblejewel and presented
as itwere,byRuskin's
wordsabout
framed,
[imagined]
inthecrownofartliterature'.84
Ruskin.
Thesepicthem,buttheshowincludedpictures
by
Twoeventsinthelate1870sconsolidated
Ruskin's
author- turesformed,
wrotethe reviewer
fortheAthenaeum,
'a
Thefirst
wasthata revised tolerablycomplete art-autobiography,
ityas Turner's
greatest
interpreter.
delineatingthe
editionof Thornbury's
indrawing
froman earlyperiodofhislife
biographyappeared in 1877. It author'sprogress
receivedlittlenoticein thepress,certainly
like
the
to
the
.
.
a
characteristic
andinmany
nothing
presentday. [In] highly
earlieroutpouring
ofcriticism,
andwhatnoticestherewere respectsintensely
of
writes
pathetic
"catalogue"
[, t]heartist
A reviewin theLiterary
assumedRuskin's
World himself,
hisaims,motives,
successes
authority.
powers,andtemporary
Inaddition,
andfailures'.88
theshowopenedundertheshadexplained:
ow of Ruskin'sillness,whichwas reportedwidelyin the
.. wasundertaken
Theoriginal
edition.
with
theapproval
ofMr.
inresponseto it,theFineArtSociety
press.Partly
organized
thegreat
ofTurner's
artistic
and
Ruskin,
work,
interpreter
the
oftheAlpinewatercolour
Ruskinhad written
purchase
received
hiscommendation
Mr.Ruskin
when
hasso
completed...
aboutwanting
morethananyother,
butwhichhisfather
had
inhissurpassingly
thefield
of
occupied
eloquent
expositions
to himinJune,
Turner's
work
that
thevery
ideaofrivalry
isalmost
anabsurdity, notallowedhimto buyThiswas presented
whenhe hadrecovered
to be ableto receivethe
sufficiently
Mr.
didnotdream
ofit.Hisobject
was
and,ofcourse,
Thornbury
Taken
as
a
the
show
attheFineArtSociety
whole,
then,
gift.89
topresent
themantothethousands
whohavelearned
toadmire
was
an
tribute
to
Ruskin's
commitment
extraordinary
lifelong
.. HowpoorTurner
theartist.
with
what
he
lived,
industry
to
and
its
a
and
accessible
Turner,
catalogue
compelling
what
works
he
and
how
a
laboured,
great
accomplished,yet great
restatement
of
Ruskin's
of
vision
the
artist.
wreck
andfailure
hislife
insomerespects
in
was,isrecorded
wordedobjections
Bytheendofthe1870s,evenstrongly
these
.. [EJveryone
whotakes
aninterest
pages
byMr.
Thornbury.
well-informed
were
writers
unable
to
counteract
theinflu85
by
inartought
tobeacquainted
this
[with book]
ence of Ruskin's ideas.90 Philip GilbertHamerton's
Thesecondeventwasthemajorexhibition
in 1878ofwaterwhichappearedin 1879,devoteda chapter
tothe
biography,
coloursbyTurner,
organizedby Ruskinfromworksin his
of
Ruskin
and
Turner.
full
of
Although
respectfor
owncollection
and heldat theFineArtSocietyin London. subject
Hamertonobservedthat'the enthusiasm
of his
Ruskin,
Theshow,whichranfromMarchthrough
thesummer,
was
admirer
seemedexcessiveto Turner,
whoconstantly
young
seenbythousands
ofviewers,
anditscatalogueranthrough
triedto preventhim [Ruskin]fromwriting'.91
He likened
inFebruary
Ruskin's
breakdown
of
manyprintings.
Although
Ruskin'sclaimsaboutTurnerto the 'calculatedartifice'
of
himfromfinishing
the entriesbeforethe
1878prevented
and Carlyle,
where'theappeal to thefeelings
is
Macaulay
exhibition
whena
opened,he wasableto do so bysummer,
W Cosmo Monkhouse,
foundedupon a fiction'.92
whose
revisededitionofthecatalogueappeared.86
His text,which
appearedthreeyearslater,beganwitha protest
combinesnewwriting
aboutthespecific
worksin theshow biography
whohad accessto information
thathad
withlengthy
from
ModernPainters,
reiterates
his againstThornbury,
quotations
been lost in the intervening
'Mr.
And
who
Ruskin,
years.
visionofTurner's
artand life.AboutBergamo(Ashmolean
havehelpedso much,hascontributed
littleto thelife
might
forexample,
an earlydrawing
Museum,
Oxford),
datingfrom oftheartist
butsomebrilliant
rhetoric.
passagesofpathetic
Turner's
withThomasGirtinin the
yearsof collaboration
hisluxuriant
and buriedbeneath
Overgrown
by
eloquence,
MonroAcademy,
Ruskin
wrote:
thedbrisofThornbury,
theruinsofTurner's
Lifelayhidden
I cangiveof
Thiswonderful
little
istheearliest
drawing
example
tilllastyear'.Although
Hamertonhad begunthejob of a
thegreat
distinctive
ofTurner's
theonewhich
nature;
passion
he 'leftmuch[work]to
continued,
properlife,Monkhouse
- hissympathy be done'.93In
himfrom
allother
modern
separates
landscapists,
1905,WL Wyllierepeatedthe now-familiar
with
senseofthepower
of
sorrow,
deepened
bycontinual
protests:
.. Turner
ina grief
death.
aloneworks
hewould
but
escapefrom,
inhiszealandenergy,
Ruskin
hasbeencarried
far
Unfortunately,
cannot.
(13:415)
- about
thetruth,
andgives
usa fabulous
Turner
as
beyond
In Ruskin'sview,Turnerand his artchangeddramatically unlike
therealmanascanbe.Tomake
outthat
Turner
wasa
intheentry
about1825.Thisisexplained
forSunshine
on the
andthat
thenoblest
intellect
ofhistime
never
neglected
genius,
Tamar (AshmoleanMuseum,Oxford),the firstworkin
- that
a single
metwith
word
orray
ofsympathy
alltheworld
was
fifth
:
Ruskin's
group,titled
Reality.
EnglandDisquieted
him- issimply
turned
absurd.
When
wecometodescripagainst
tions
ofthepictures,
wemeet
suchwords
asthefollowing:
Buta time
hasnowcomewhen
he[Turner]
that
allis
recognizes
- a discovery
Turner
is
the
man
who
has
ever
anentire
tranwith
notright
theworld
'J.M.W
only
given
contemporary,
probably,
ofthewhole
ofnature.'
Thisisimpossible
with
themore
onethat
allwasnotright
within
himself.
script
system
grave
94
nonsense/^
Howsoever
itcametopass,a strange,
andinmany
grievrespects
ousmetamorphosis
takes
about
the
1825.
placeuponhim,
year
In summary,
wrote:
Wyllie
heshows
thesenseofa terrific
Thenceforward
clearly
wrongness
Thisisvery
beautiful
,but[it]isnotthetruth.
writing
[byRuskin]
andsadness,
inthebeautiful
order
oftheearth;
hiswork
mingled
Turner
had
to
him.
teach
His
father
many
gavehimevery
possible
- andinitsgreatest
becomes
satirical,
reckless,
partly
partly
partly
His
fellow
were
full
of
admiration
forhiswork,
and
help.
painters
87
- tragic
andnoblest
features
(13:433-34).
hehadmany
staunch
friends
tothelast.I think
will
myreaders
thepublicwas to blame:'Whentheysee, gathUltimately,
with
helived
a prosperous
andfairly
me,that
life,
agree
happy
inonegroup,examples
in
erednowtogether
ofthedrawings
andthat
hisendwasbynomeans
butsuchashehimmiserable,
whichthecalamitous
the
changeis expressedmostclearly,
self
would
havewished.9^
publicmayperhapssee howinthedeepestsensetheirown Evenwhenillness
Ruskin
fromundertaking
prevented
major
follies
werethecauseofallthattheyblamed,andoftheinfinewprojects,
hisideasaboutTurner
continued
tobe veryvisall
that
lost'
nitely
greater
they
(13:435).
69

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AKT
TheBRITISH
X,No.1
JournalVolume
ible.Someofhisearlier
writings
appearedinneweditions.96
The mostfamousword-pictures,
aboutTurner's
especially
were
and
read
who
neverlooked
paintings, quoted
bymany
at theactualbooks.Forsome,suchas OscarWilde,he simartist:
plyhadbecomethemoreimportant
Mr.Ruskin's
Whocares
whether
views
onTiirner
aresound
or
What
doesitmatter?
not?
That
andmajestic
ofhis,
mighty
prose
initsnoble
sofervid
andsofiery-coloured
in
sorich
eloquence,
itselaborate
sosureandcertain,
in
atitsbest,
music,
symphonic
subtle
choice
ofword
andepithet,
isatleast
asgreat
a work
ofart
asanyofthose
wonderful
sunsets
that
bleach
orrotontheir
corinEngland's
canvases
oneisapt
indeed,
Gallery;
greater,
rupted
attimes.97
tothink
AfterRuskin'sdeath in 1900, ET Cook and Alexander
Wedderburn
beganthemonumental
projectthatbecamethe
EditionoftheComplete
Works
39 volumesoftheLibrary
of
wordsframed
Turner's
waterJohnRuskin.Justas Ruskin's
coloursin 1878,so thewordsandchoicesofthetwoeditors
framed
Ruskin's
works.His imageofTurner
as an isolated
rescuedand properly
was not
artist,
interpreted
byRuskin,
and the criticism
it had receivedwas minicontradicted,
mized,whennotignored
altogether.98

Onlyin the past fewdecades,usingthe extraordinary

amountofresearch
thathasbeenmadeavailable
aboutboth
Himerand Ruskin,
has it been possiblefully
to appreciate
howpassionate
butalso howpartialRuskin's
viewofTurner
is.A student
whenhe first
metthe65-year-old
Ruskin
artist,
inVictorian
sawTurner
terms.His choiceof
quitenaturally
thegreatpaintings,
hisconstant
reference
to theengravings
as a standard
ofexcellence,
hismethodofinterpreting
the
hisviewoftheman,allmakesensewithand,finally,
pictures,
ina Victorian
context.99
Asimportant
is theideathatRuskin's
fashion
Turner
into
TimHiltoncalled'a
what
interpretations
scattered
and unstableself-portrait'.100
as it
Readin reverse,
viewofTurner
fortheinsights
it
were,lookingat Ruskin's
aboutRuskin
rather
thanaboutTurner
offers
a comprovides
itis one thatmust
pellingapproachtothewritings.
Certainly
be takenintoaccountbyanyscholarofTurner.

I would
like
tothank
Allen
New
Haven Hewison
etal,ppl4-5.
IanWarrell,
ancora
Hilton,
Ruskin,
Staley, 5Tim
John
'DopoTUrner
Professor
Columbia
andLondon,
14Hilton,
TUrner.
sulle
dello
Emeritus,
2002,
p24.For
opcit,
pp69-73.
Indagine
origini
for
hisinstruction
and
Ruskin's
ofit,see
inMarco
stile
maturo
dell'artista'
15Spectator
University,
description
(13May
p451.
1843),
wise
counsel
asa
Praeterita
: Thadnosooner
cast 16Fora discussion
oftheresponses Goldin,
TUrner
egliimpressionisti
,
during
years
my
andhis
ontheRogers
itreceived,
aswell
as
exhcat,
Museuo
diSanta
student,
Giulia,
graduate
eyes
vignettes
[by
published
inmy
interest
work.
I
I took
continued
than
them
for
see3:xxxv-xliii.
Aletter
in
2006,
Brescia,
TUrner]
my
private,
pp53-63.
alsoamgrateful
toProfessor
masters'
theArt-Union,
vol5Quty
nsvol20
See,for
only
(35:79).
1843), 20Gentleman's
Magazine
in
of
'An
the
discussion
the
first
from
Admirer
of
1843),
pp451-52.
Chen,
TUrner', (November
Ching-Jung
City
College
example,
pl97,
who
New
ofModern
which anearly
reference
notmentioned21Ibid,
York,
CUNX
Painters,
suggested volume
p454.
inhisactual
revisions
tothis
article. begins
'Neither
views inCook
andWedderburn,
important
opcit, 22Ibid,
p467.
research
waspartially
funded ofItaly
hasTUrner
ever
her makes
thesame
asthe
attacks
Ruskin's
23Although
My
caught
points
severely
from
thePSC-CUNY true
inthelittle
reviewers.
Ruskin's
for
spirit,
bya grant
except
published
damaged
Eagles's
reputation
in
Professional
Fund. vignettes
toRogers's
toreviews
arecollected
heactually
wasa
modern
readers,
Development
poems'
replies
1Allreferences
toRuskin's
with
reviewer
3:641-61.
writings (3:242-3).
competent
aretoETCook
andAlexander 6Ibid,
ofthereviews
of
traditional
views.
Fora more
17Fora study
p38.
andLuke
Painters
notwith reasonable
Wedderburn,
eds,The
Herrmann,Modern
,although
Complete 7Ibid,
p53,
p77,
contemporary
Works
Ruskin.
Ruskin
andTUrner,
New
asthefocus,
seeLester
seeJohn
Lewis
York,
1968, TUrner
assessment,
John
Library
of
Roget,
ForRuskin's
memories
of Dolk,
'TheReception
ofModern Notes
andMemoranda
the
39vols,
1903-12. ppl9-20.
Edition,
London,
Respecting
All first
This
isfrom
andowning
Modern
Studiorum
3:630-1.
Notes, Liber
TUrner,
R.A,
quotation
seeing
original Painters',
Language
ofJ.M.W
will
citations
follow
works
see35:252-6.
vol57,no.8 (December
byTUrner,
1879,
London,
subsequent
1942),
p35:'Eagles...
[was
inthetext.
thequotation
8IanWarrell,
from
andJDJump,
'Ruskin's a]thoughtful
andagreeable,
but
TUrner', pp621-26;
'Learning
APre-Raphaelite
2Raleigh
inRobert
intheEighteen-Fifties:
Hewison
etal,Ruskin, Reputation
now[ie,1879]
old-fashioned,
Trevelyan,
Circle:
The
andthe
theEvidence
oftheThree
writer
onart.'
,exh
PJ.
Trevelyan,TUrner
Pre-Raphaelites
Life
ofLady
PMLA
andHer
Tate
vol63, 24Blackwood's
vol54
Friends,
London,
1978,
cat.,
2000,
Weeklies',
Principal
Gallery,
p65.For
Magazine
Ruskin's
account
ofmeeting
no.2(June
p28.
1948),
pp678-85.
(October
1843),
p484.
tothis
What
vol5(June
see35:305.
18Art-Union
3Anup-to-date
TUrner,
guide
1843),
ppl51-25Ibid,
p492.
inthe
literature
canbefound
toalter
their
2.
26Aninteresting
ofthe
happened
analysis
ofIanWarrell,
intheanonymous
hasbeenthesubject 19Looking
back
toTurner's
earlier invective
found
ed,
bibliography
relationship
exhcat.,
National
ofmuch
SeeHilton, work
inBlackwood's
for
evidence
ofhisgreatness reviews
anditsrole
TUrner,
J.M.W
speculation.
ofArt,
andpp403-4.
inthecreation
first
became
common
the
ofanauthorial
DC,
Gallery
Washington.,
opcit,
ppl01-2
during
Thebasic
for
all
2007.
resource
account
ofthis
late1820s
TMurphy,
from
isPeter
9Fora complete
(andpaintings
just presence
TUrner
research
isMartin
Butlin
seeIan
a few
earlier
often
looked
in
andAuthorship
complicated
history,
years
'Impersonation
The
andEvelyn
Switzerland
with
inretrospect).
better
ELH
vol59
Romantic
Warrell,
Joll,
See,for
Britain',
Paintings
of
Through
2vols,
rev
New
TUrner:
Ruskin's
First
Selection
Bull
vol7 (27May
TUrner,
edn,
J.M.W
(1992),
pp625-49.
John
from example,
Haven
andLondon,
Their
the
TUrner
exhcat.,
Tate
welook
back 27Fora thorough
to
1984.
Bequest,
1827),
pl65:'When
attempt
number
iscited
inmy
some
orfive
andtwenty establish
which
were
1995,
catalogue
Gallery,
pp21-30.
twenty
paintings
text
as'B&J'after
thefirst
10Ibid,
Forthephrase
... itreally
makes exhibited
seeSelby
when,
pp38-40.
years
standing,
mention
ofeachpainting.
'black
.. toseesosad,so
see3:xviii.
ussick.
"IUrner's
Second
anger',
Whittingham,
4Themost
of 11John
needless
a falling
off.'
Reviewers Gallery',
TUrner
News
no.42
ed,Collected
eloquent
exposition
Gage,
Society
this
ofTUrner
issurely
view
with alsosometimes
the
TUrner,
Correspondence
J.M.W
of
predicted
(November
1986),
plO.
Lawrence
anEarly
inthefuture.28Blackwood's
TUrner:
anda Memoir
ofa work
vol54
Gowing,
Diary
by
greatness
Magazine
andReality
letter See,for
theSun(7May
,exhcat.,
Oxford,
1980,
(October
1843),
p489.
Jones,
Imagination
George
example,
TheMuseum
ofModern
New 202,
about
thetwo
views
ofthe 29Ibid,
Art,
ppl60-l.
1816),
p491.
This
ERoberts,
view
'Art
ofJupiter
Panellenius
1966.
York,
appeared 12Helene
Reviewing Temple
(B& 30Athenaeum
(3February
1844),
in
in
most
ofthe
theEarly
recently
J133and&J134)atthe
many
Nineteenth-Century
pl05.
reviews
oftheTUrner Periodicals',
Victorian
Periodicals Academy:
'These
two
are 31Ibid,
newspaper
pictures
pl07.
exhibition
inAmerica
in Newsletter,
no19(March
like
two
new
from 32Ibid,
fresh
circulating
1973),
guineas,
pl05.
2008.
Lance
1discuss
ina
this
material
theMint,
33Ibid,
See,for
pl06.
example,
pp9-20.
yellow,
shining,
gorgeous
'Nature
Painted
with
inSheila
about
the
andsterling;
unlike
thesaid 34This
same
ismade
but,
Esplund,
monograph
point
in
will
Force.
Turner's
ofartcriticism
in
beimproved
Ruskin.
The
Genesis
coins,
Emerson,
Magnificence development
they
of
Shines
atMe,
The
New
York
Britain
thelate18th
and
worth
3
Sun,
1993,
Invention,
during
byage,andbemore
ppl6lCambridge,
2008
in1916
in1816.'
centuries
valuable
than
19th
63.
early
July
(forthcoming).
close
to
themeasure
ofworth35Ruskin
referred
toCarlyle's
13Ruskin's
(http://www.nysun.com/arts/nature
relationship
Interestingly,
:
artcriticism
and
isfinancial
value
rather
than
immense
influence
onhiswriting
-painted-with-force/8122
1/)
contemporary
in5:427
other
"IUrner
isa visionary,
a romantic, critics
isdiscussed
Onthis
and12:507,
byHewison, artistic
reputation.
among
in
Aninteresting
discussion
of
andanexpressionist
. . ..'
"'The
Beautiful
andtheTrue"',
seethearticle
issue,
important
by
places.
70

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ART
Volume
X,No.1 TheBRITISH
Journal
Cosmo
onRuskin
is
andSt.
The
influence
93William
58Sun(16May
Monkhouse,
Hamerton,
James's Gilbert
J.M.W.
Carlyle's
1815);
Life
of
v.
Turner
'"Rust
Nick
andDust": Chronicle
,London.
1882,
Turner,
R.A,
London,
1879,
May
1815).
ppl4Shrimpton,
(11-13
inRobert 59Literary
vol1(1817),
Ruskin's
Pivotal
Gazette
94WLJ.M.W
Turner,
London,
Work',
p249; 28.
nsvol3
The
to
andRepository
73Walter
.
Hewison,
ed,New
J.M.W 1905,
Approaches
Thornbury,
Life
of
ofArts
R.A:
Founded
onLetters
and 95Ibid,
Fora recent
Ruskin,
London,
1981,
opcit,
ppl44-45.
(1817),
analysis Turner,
pp51-67.
p348.
and 96Hewison,
Akin
intheway
two
Furnished
Friends
ofthesimilarities
36Van
ed,pl95;andHewison
Burd,
ed,The
Papers
byhis
Winnington
et
Fellow
2ndedn,
Letters.
Ruskin's
ofTurner
Academicians,
al,p271.
John
Correspondence
contemporaries
'TheCritic
asArtist
with
Alexis
Bell
andthe
understood
oneofhispaintings, London,
1970. 97Oscar
London,
Wilde,
1877,
rpt
Margaret
Other
such
references Part
Children
atWinnington
seeLuke
74Ibid,
ed,Oscar
I',inIsobel
Hall,
Herrmann,
'J.M.W
Murray,
pXV.
thePreface, Wilde:
The
Turner's
Villa
atTwickenham.
Works,
Oxford,
London,
1969,
pp67-68.
appear
throughout
Major
Pope's
Art
toThornbury,2000,
The
British
The
37WGCollingwood,
According
p262.
ppxi-xiv.
Lije
ojJohn ACaseStudy',
1(Summer
hisbiography
ofTurner 98Hilton,
rev
Boston
andNew
hewrote
Ruskin,
VIII,
edn,
opcit,
ppxxviii-xxix,
sugfournal,
2007),
- "very
much gests
some
oftheweaknesses
of
with
theinfluence PP20-23.
York,
1902,
p84,
supervised
byRuskin
Agood
Edition.
exambareheaded
under
a
theLibrary
ofCarlyle's
Heroes
mentioned 60Art
vol9 (November
Journal
1847), like
working
ofthe
sun!"
onp88.Fortheargument o368.
tropical
(MClare
Loughlin- pleisthepresentation
again
volume
of
Walter reviews
ofthefirst
took
ashis
61St.
Chronicle
that
Ruskin
Turner
Chow,
James's
(21-24
May
'Thornbury,
(George)
inOxford
Painters.
Itprovides
a comseeRobert
artist-hero,
Hewison, 1814).
(1828-1876)',
DictionaryModern
butorganizes
and
inHewison
edHCG
'Conclusion'
etal,op 62Press-Cuttings,
Victoria
&Albert
list,
prehensive
ofNational
Biography,
thereviews
soasto
summarizes
vol6,pl687;
andBrian
cit,
27.
Harrison,
Museum,
Spectator Matthew
onesand
minimize
thenegative
odcit,
38Hilton,
p314.
Oxford,
2004,
http://
(28May
1836),
p5l6;Pictorial
tominor
in
undue
OnHeroes,
Hero- Times
www.oxforddnb.com/view/article/2
39Thomas
prominence
give
Carlyle,
(27May
1843),
quoted
butpositive
ones(3:xxxv-xliii).
M.Thackeray,
Critical
andthe
Heroic
inHistory, William
7341
13,2008).
(accessed
July
Worship,
in
this
This
discusses
inArt,
Archibald
99IanWarrell
1904,
MacMechan,
ed,Boston, Papers
London,
andp343.
p202; 75Ibid,
relation
toTurner's
vol72(June particular
Hero New
1901,
sexually
passage
(12:133)
p49;andpp51-52
('The
Monthly
Magazine
in'Exploring
the
asProphet').
andtheArt
others,
Journal offended
explicit
drawings
including
1844),
p252;
andthe
who
"dark
side".
Ruskin
vol11(1849),
40Ibid,
Hero
as
Hamerton,
opcit,
pp325-26,
p91,
p92('The
pl67.
- but
The
Problem
ofTurner's
hasbeen
extensive
art
called
it'deeply
63There
Poet').
Erotica',
pathetic'
British
Art
41Fora discussion
oftheinfluence
of historical
devoted
tothis untrue.
research
VI,1(Spring
Journal,
onRuskin,
andp309.
andthe
Seeespecially
76Ibid,
2003),
PP5-14.
Judy
pp338-39;
Carlyle
painting.
aswell
as
Ruskin
differences
between
theideas
of
Turner:
the
(7:375), 100Hilton,
opcit,
ppxxi-ii
p97,
quoting
Egerton,
Fighting 77Ibid,
SeealsoDinah
andColeridge,
see
exhcat,
National
Ruskin,
Temeraire,
p300,
p656,
p707.
Gallery,andpp41-43.
Carlyle,
onTurner,
PLandow,
L.
andpl2.
The
Aesthetic
and London,
andRichard
78Ibid,
Birch,
ed,Ruskin
1995;
p33,
George
Theories
'Remember
theTemeraire:79Athenaeum
Critical
1990,
Boston,
Ruskin,
Stein,
1861),
p9andpl6;and
(16November
ofJohn
Dinah
Voices
Turner's
Memorial
of1839',
Birch,
Princeton,
1971,
'Elegiac
espp326,
pp643-46.
p389.
vol111(April
andRuskin',
42Athenaeum
vol11(Summer 80Quarterly
Wordsworth,
Turner,
Review,
(25July
Representations
1846),
p766.
nsvol
The
Review
43Ibid,
Studies,
1862),
p470.
ofEnglish
1985),
p767.
ppl65-200.
44The
Review
vol
64Morning
Chronicle
50,no.199(August
1861),
1999),
p344.
1839); 81Athenaeum
(16November
(7May
Foreign
Quarterly
Review
vol111
andQuarterly
andAthenaeum
p382.
(11May
1839),
p643,
37(1843),
45Ibid,
1862),
p470.
398-99.
p357.
(April
vol91
46Ibid,
onthepicturesque
82Blackwood's
65Theliterature
Magazine
p402.
onRuskinisnt;
isconsiderable.
Foranimportant (January
47Something
with
a
1862),
p34.
' inRhyme,
'Vestibule
on 83Athenaeum
about
itsinfluence
1861),
(7December
byanArchitect,discussion
artcriticism
seeHelene pp765-66,
London,
1851,
1861),
(14December
p42,
p43.
specifically,
ofFascinating p808,
48Quarterly
Review
vol98(December ERoberts,
'"Trains
(8
(1March
1862),
pp296-97,
and
Endless
March
1855-March
1862),
pp331-32,
(11
1856),
pp384-433;
Imagery":
Review
vol
Associationist
Art
Criticism
before
January
1862),
p51;(22February
Edinburgh 103(April
National
Review 1850',
Victorian
Periodicals
Review
,
1862),
p260;
(15March
1862),
1856),
pp535-57;
inHonor
vol3 (July
and
Issue
ofWalter p363.
1856),
pp80-106;
Special
Westminster
Review
nsvol9 (1856), Houghton,
vol10(September 84Cook,
pp336-37.
opcit,
World
DD625-33.
85Literary
(15June
1877),
1977),
pp25-32.
66See&J58and252.
49Tom
ed,Autobiographical
Taylor,
PP372-73.
ofhow 86Hilton,
late
Charles 67Foranextended
discussion
673-74.
Recollections,
opcit,
bythe
inmodern
Robert
thepainting
Hirner's 87Forvarious
Leslie,
Boston,
1860,
pl36.
symbolized
suggestions
that
such
statements
Other
whoheard
the
own
see13:136.
life,
scholarship
people
toRuskin
than
to
lecture
alsocriticized
theaccuracy68This
wasmade
refer
more
point
by
note
100.
ofRuskin's
stories
about
Turner. Collingwood,
seebelow,
cit,
Turner,
pl92:
op
tothe
theletter
read
into
of
Ruskin
himself
referred
See,for
pictures
example,
printed '[Ruskin]
inAthenaeum
... a meaning likenesses
what
he
orHimer
between
(10June
1854),
p720. Tintoret
hesovividly
tobeTurner's
mental
vol75(June ora moral
which
50Blackwood's
supposed
Magazine
ofRuskin's communicated
tothereader
asto
condition
andhisown.
See,for
1854),
p753
(review
oneamong
Van
Architecture
andPainting
make
itthenceforward
and
).
part
many
examples,
Akin
Review
vol103(April
ofthesubject,
however
it
51Edinburgh
Burd,
ed,opcit,
p280
(Letter
parcel
No.118,
Turner
came
there
tobegin
with.
Itis
9March
1856),
p538,
p540.
1861):
atthis
vol87
useless
towonder
whether
down
52Blackwood's
Turner, broke
just
altogether
Magazine,
of
for
meant
time
ofhismental
&
instance,
(January
1860),
p43(review
consciously
progress...
inhisworks'. I'msolike
him.'
.
what
Elements
Ruskin
found
ofDrawing)
Anecdote
53Athenaeum
(27May
1854),
p651. 69John
Timbs,
(22June
1878),
p803.
Biography.88Athenaeum
Ruskin
William
Sir
89Hilton,
54Ibid(28May
Joshua
1859),
p703.
Reynolds,
opcit,
pp673-75.
Hogarth,
ina
Thomas
about
thepresent
55Ibid(28May
Fuseli, wrote
1859),
p704.
Gainsborough,
Henry
and
Preface
dated
SirThomas
56Ibid(30June
Lawreitce,
5,1878
June
J.M.W
p879.
1860),
inAlaric
A
Thewatercolour
is
57Lovell
Reeve,
Turner,
1860,
London,
pp309-10. (13:488).
quoted
in
'ABiographical
in
Timbs
his
illustrated
anddiscussed
Since
Watts,
Sketch',
compiled
Liber
River
information
from
earlier
etal,opcit,
cat.no112,
Fluviorum;
or,
sources, Hewison
Scenery
of
It
hisbook
a useful
France,
London,
1857,
provides
pl29.
pxlviii.
ofEnglish
alsowasreported
asfact
inTimbs, summary
ofthefirst
of 90Peter
'Studies
Bayne,
biographies
No.1,John
andWLWylli
Ruskin',
Burnet,
Authors,
e,J.M.W Turner,
John
opcit,
p367,
especially
Turner
andHisWorks,
The
World
Turner,
London,
1905,
(19April
1878),
plOl.For
[with]
Literary
an
seeGeorge
artists,
Richmond, Memoir,
50-51,
byPeter
Cunningham, pp2
represents
toreconcile
aswell
asAlexander
andWatts,
1852,
13:275,
London,
opcit.
interesting
attempt
with
Reminiscences
Turner's
success
70Ibid,
ed,The
Brodie,
professional
PP318-9.
of
Ruskin's
claim
that
hedefended
Solomon
Hart,
RA,London,
PP380-2.
1882, 71Ibid,
confessed
tome,that 72Notable
areRalph
theartist
vicious
attack
by
p48:'Turner
exceptions
against
Mr.
him
to
Ruskin
often
credited
with Nicholson
The
Turner
Ruskin's
Wornum,
explanation
limiting
that
him.' Gallery:
the
motives
never
actuated
a Series
reputation
during
ofSixty
Engravings Turner's
Works
the
Collingwood,
opcit,
pl92,
Principal
ofJ.M.W. 1840s.
from
AMemoir
thequestion
with
Turner.
andIllustrative91Hamerton,
discussed
opcit,
p315.
characteristic
tact.
andPhilip 92Ibid,
Text,
London,
1861,
p324.
71

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