Editing J. M. W. Turner (section)

=== Career ===
[[File:Caerlaverock Castle by Joseph Mallord William Turner - Joseph Mallord William Turner - ABDAG000623.jpg|left|thumb|''Caerlaverock Castle'' ({{circa|1832}}), Aberdeen Archives Gallery and Museums]]
[[File:Joseph Mallord William Turner (British - Modern Rome-Campo Vaccino - Google Art Project.jpg|left|thumb|''[[Modern Rome&nbsp;– Campo Vaccino]]'', 1839]]
Turner entered the [[Royal Academy]] of Art in 1789, aged 14,<ref name="finberg">{{cite book| last=Finberg| first=A. J.| title=The Life of J.M.W. Turner, R.A| url=https://archive.org/details/lifeofjmwturnerr0000finb| url-access=registration| publisher=[[Clarendon Press]]| year=1961| page=[https://archive.org/details/lifeofjmwturnerr0000finb/page/17 17]}}</ref> and was accepted into the academy a year later by [[Sir Joshua Reynolds]]. He showed an early interest in architecture but was advised by Hardwick to focus on painting. His first watercolour, ''A View of the Archbishop's Palace, Lambeth'', was accepted for the [[Royal Academy summer exhibition]] of 1790 when Turner was 15.

As an academy probationer, Turner was taught drawing from plaster casts of antique sculptures. From July 1790 to October 1793, his name appears in the registry of the academy over a hundred times.{{sfn|Hamilton|2007|loc=Chapter 2}} In June 1792, he was admitted to the [[life class]] to learn to draw the human body from nude models.<ref>{{cite book| last=Wilton| first=Andrew| title=Turner in his time| year=2006| publisher=Thames & Hudson| location=London| isbn=978-0-500-23830-1| page=17| edition=New}}</ref> Turner exhibited watercolours each year at the academy while painting in the winter and travelling in the summer widely throughout Britain, particularly to [[Wales]], where he produced a wide range of sketches for working up into studies and watercolours. These particularly focused on architectural work, which used his skills as a draughtsman.{{sfn|Hamilton|2007|loc=Chapter 2}} In 1793, he showed the watercolour titled ''The Rising Squall&nbsp;– Hot Wells from St Vincent's Rock Bristol'' (now lost), which foreshadowed his later climatic effects.<ref name="wilton20">{{cite book| last=Wilton| first=Andrew| title=Turner in his time| year=2006| publisher=Thames & Hudson| location=London| isbn=978-0-500-23830-1| page=20| edition=New}}</ref> The British writer [[Peter Cunningham (British writer)|Peter Cunningham]], in his obituary of Turner, wrote that it was: "recognised by the wiser few as a noble attempt at lifting landscape art out of the tame insipidities&nbsp;... [and] evinced for the first time that mastery of effect for which he is now justly celebrated".<ref>{{cite news| last=Cunningham| first=Peter| title=Obituary of Turner| newspaper=[[Athenaeum (British magazine)|The Athenaeum]]| date=27 December 1851| pages=17–18}}</ref>

[[File:Joseph Mallord William Turner - Fishermen at Sea - Google Art Project.jpg|thumb|''[[Fishermen at Sea]]'', exhibited in 1796, the first oil painting exhibited by Turner at the Royal Academy]]

In 1796, Turner exhibited ''[[Fishermen at Sea]]'', his first oil painting for the academy, of a nocturnal moonlit scene of [[the Needles]] off the [[Isle of Wight]], an image of boats in peril.<ref>{{cite book| last=Butlin| first=Martin| title=The paintings of J.M.W. Turner| year=1984| publisher=Yale University Press| location=New Haven| isbn=978-0-300-03276-5 |edition=Rev.| author2=Joll, Evelyn}}</ref> Wilton said that the image was "a summary of all that had been said about the sea by the artists of the 18th century"<ref>{{cite book| last=Wilton| first=Andrew| title=Turner in his time| year=2006| publisher=Thames & Hudson| location=London| isbn=978-0-500-23830-1|page=27|edition=New }}</ref> and shows strong influence by artists such as [[Claude Joseph Vernet]], [[Philip James de Loutherbourg]], [[Peter Monamy]] and [[Francis Swaine]], who was admired for his moonlight [[Marine art|marine paintings]]. The image was praised by contemporary critics and founded Turner's reputation as both an oil painter and a painter of maritime scenes.<ref>{{cite book| last=Wilton| first=Andrew| title=Turner in his time| year=2006| publisher=Thames & Hudson| location=London| isbn=978-0-500-23830-1| page=28| edition=New}}</ref>

[[File:Portrait of J. M. W. Turner, R.A. making his sketch for the celebrated picture of Mercury & Argus (4674619).jpg|thumb|upright|[[Charles Turner (engraver)|Charles Turner]], {{circa}}1840, ''Portrait of J. M. W. Turner, making his sketch for the celebrated picture of 'Mercury & Argus' ''(exhibited in 1836)]]

Turner travelled widely in Europe, starting with France and Switzerland in 1802 and studying in [[the Louvre]] in Paris in the same year. He made many visits to [[Venice]]. Important support for his work came from [[Walter Fawkes|Walter Ramsden Fawkes]] of [[Farnley Hall (North Yorkshire)|Farnley Hall]], near [[Otley]] in Yorkshire, who became a close friend of the artist. Turner first visited Otley in 1797, aged&nbsp;22, when commissioned to paint watercolours of the area. He was so attracted to Otley and the surrounding area that he returned to it throughout his career. The stormy backdrop of ''[[Snow Storm: Hannibal and his Army Crossing the Alps]]'' is reputed to have been inspired by a storm over [[the Chevin]] in Otley while he was staying at Farnley Hall.

Turner was a frequent guest of [[George Wyndham, 3rd Earl of Egremont]], at [[Petworth House]] in West Sussex, and painted scenes that Egremont funded taken from the grounds of the house and of the Sussex countryside, including a view of the [[Chichester Canal]]. Petworth House still displays 20 paintings, the largest collection of his work outside the [[Tate]].<ref>{{cite web |title=Petworth Park through Turner's eyes |url=https://www.nationaltrust.org.uk/visit/sussex/petworth/petworth-park-through-turners-eyes |website=National Trust |access-date=15 March 2025}}</ref>