Newark Abbey on the Wey
J. M. W. Turner · c.1807
J. M. W. Turner: 1775–1851
Other names (12)
James Mallord William Turner, J. M. W. Turner, J. M. W. Turner, J. M. W. Turner, J. M. W. Turner, JMW Turner, Joseph Mallard William Turner, Joseph Mallord William Turner, Joseph Mallord William Turner, Joseph Mallord W. Turner, William Turner, William Turner
Biography
Joseph Mallord William Turner (23 April 1775 – 19 December 1851), known in his time as William Turner, was an English Romantic painter and is regarded as one of the greatest British painters of the 19th century. His expressive renditions of light and atmosphere and bold use of colour in landscape painting inspired the early impressionists Monet and Pissarro.
Turner started his career as an architectural draughtsman and watercolourist and gained academic recognition as an oil painter. A child prodigy, Turner was accepted as a student at the Royal Academy of Arts at age 14 and had a rapid ascent to recognition, fame and financial success. By his early twenties, he was selling his oil paintings at top market prices to wealthy art collectors and gaining high praise from the academic establishment.
When he was 27 years old, Turner was elected as a Royal Academician, the highest artistic honour at the time, becoming one of the youngest painters to achieve this distinction in the Academy's history. In spite of these accomplishments, he was constantly criticised by a few influential critics in aristocratic circles because of his working class origins.
Turner's artistic style evolved during his lifetime as he never stopped experimenting with new painting techniques. He was a versatile artist and was able to emulate the different styles of Old Masters, producing works that generated admiration from Academicians and art critics. Early on, he started painting in an increasingly expressionistic style, using sketches from his extensive travels throughout England and Europe as inspiration. To complement his depictions of the ocean, rivers and mountains, he experimented with the representation of natural phenomena, like sunlight, storms, clouds, and fog. Turner's later landscapes became more abstract and were not well received at the time, but are considered masterpieces today.
Turner mastered different printmaking techniques, preferring mezzotints. He spent 12 years completing a collection of over 70 prints using this technique, which he called the Liber Studiorum or Book of Studies. While a commercial failure, it was influential in elevating the status of landscape painting; a genre that, before Turner, was considered of lower artistic value than history painting and portraits, according to the long-established hierarchy of genres.
Turner died a rich man in 1851, aged 76. He was a prolific artist, producing about 550 oil paintings and over 2,000 watercolours during his lifetime. He bequeathed to the nation around 100 finished and 200 unfinished oil paintings. His will included the donation of £140,000 in investments and property to provide financial assistance to painters, but it was distributed among his relatives after a prolonged trial. Many of his paintings are displayed at the National Gallery and the Tate Britain in London, among other museums.
Wikipedia contributors. Opening excerpt, formatted for reading. CC BY-SA 4.0. Source revision.
Influenced by
- Thomas Girtineditorial inference
Evidence
Wikidata assertion retained for review; its references, if supplied, have not been independently verified.
- Jacob van Ruisdaeleditorial inference
Evidence
Explicit secondary-source assertion; independent historical verification remains pending.
- Claude Lorraindocumented
Evidence
The museum identifies Claude's Italianate landscapes as an inspiration for Turner. The cited museum text was read and supports this relationship.
- Richard Wilsondocumented
Evidence
The museum identifies Wilson's Italianate landscapes as an inspiration for Turner. The cited museum text was read and supports this relationship.
- Thomas Maltoneditorial inference
Evidence
Wikidata assertion retained for review; its references, if supplied, have not been independently verified. Teaching is recorded separately and does not itself establish artistic influence.
- Rembrandt van Rijneditorial inference
Evidence
Explicit secondary-source assertion; independent historical verification remains pending.
- Joshua Reynoldseditorial inference
Evidence
Wikidata assertion retained for review; its references, if supplied, have not been independently verified. Teaching is recorded separately and does not itself establish artistic influence.
- Jean-Antoine Watteaueditorial inference
Evidence
Explicit secondary-source assertion; independent historical verification remains pending.
- Horace Verneteditorial inference
Evidence
Explicit secondary-source assertion; independent historical verification remains pending.
Later influence
- François-Auguste Raviereditorial inference
Evidence
Wikidata assertion retained for review; its references, if supplied, have not been independently verified.
- Albert Irvineditorial inference
Evidence
The cited biography explicitly attributes artistic influence or inspiration to the named painter(s); retained as a secondary-source assertion. Explicit secondary-source assertion; independent historical verification remains pending.
- Alfred Sisleyeditorial inference
Evidence
Explicit secondary-source assertion; independent historical verification remains pending.
- Ivan Aivazovskyeditorial inference
Evidence
Wikidata assertion retained for review; its references, if supplied, have not been independently verified.
- Childe Hassameditorial inference
Evidence
Explicit secondary-source assertion; independent historical verification remains pending.
- Albert Goodwineditorial inference
Evidence
The cited biography explicitly attributes artistic influence or inspiration to the named painter(s); retained as a secondary-source assertion. Explicit secondary-source assertion; independent historical verification remains pending.
- Frederick McCubbineditorial inference
Evidence
Explicit secondary-source assertion; independent historical verification remains pending.
- Christopher W. Bakereditorial inference
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Reviewed the named influence and direction in the source passage. Explicit secondary-source assertion; independent historical verification remains pending.
- Claude Moneteditorial inference
Evidence
Explicit secondary-source assertion; independent historical verification remains pending.
- Paul Nasheditorial inference
Evidence
Explicit secondary-source assertion; independent historical verification remains pending.
- Jean-Baptiste-Camille Coroteditorial inference
Evidence
Explicit secondary-source assertion; independent historical verification remains pending.
- Alfred William Richeditorial inference
Evidence
The cited biography explicitly attributes artistic influence or inspiration to the named painter(s); retained as a secondary-source assertion. Explicit secondary-source assertion; independent historical verification remains pending.
- Samuel Palmereditorial inference
Evidence
Explicit secondary-source assertion; independent historical verification remains pending.
- Alexander Helwig Wyanteditorial inference
Evidence
Explicit secondary-source assertion; independent historical verification remains pending.
- Thomas Coleeditorial inference
Evidence
Explicit secondary-source assertion; independent historical verification remains pending.
- John Thomsoneditorial inference
Evidence
The biography identifies Turner's techniques among Thomson's formative influences. Explicit secondary-source assertion; independent historical verification remains pending.
- Philip Wilson Steereditorial inference
Evidence
The biography identifies J. M. W. Turner as an artistic influence on Philip Wilson Steer. The biography distinguishes Whistler's example from Steer's later old-master influences. Explicit secondary-source assertion; independent historical verification remains pending.
- Eugène Carrièreeditorial inference
Evidence
The biography identifies J. M. W. Turner as an artist admired by Eugène Carrière. Rubens's paintings prompted Carrière's artistic vocation; Turner is expressly admired rather than asserted as an influence. Explicit secondary-source assertion; independent historical verification remains pending.
Artworks by year
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Museums & collections
Documented holdings of works attributed to J. M. W. Turner. Check the museum’s record for current display information.
- Tate282 recorded works
- Art Institute of Chicago28 recorded works
- National Gallery of Art16 recorded works
- National Gallery8 recorded works
- The Cleveland Museum of Art8 recorded works
- The Metropolitan Museum of Art8 recorded works
- British Museum2 recorded works
- Clark Art Institute2 recorded works
- Bolton Museum1 recorded work
- Isabella Stewart Gardner Museum1 recorded work
- Kelvingrove Art Gallery and Museum1 recorded work
- Musée du Louvre1 recorded work
- musée Nicolas Poussin — Les Andelys1 recorded work
- Museu Calouste Gulbenkian1 recorded work
- National Museum Cardiff1 recorded work
- Philadelphia Museum of Art1 recorded work
- Vanderbilt Museum of Art1 recorded work
- Walters Art Museum1 recorded work
- Yale University Art Gallery1 recorded work
Sources 12
- Wikidata (CC0)
- National Gallery of Art
- Museum authority country review
- Pantheon 2025 — Datawheel (CC BY-SA 4.0)
- Museum authority country review
- Tate Collection metadata (October 2014 snapshot)
- Pantheon 2025 — Datawheel (CC BY-SA 4.0)
- Expanded artwork research — official museum evidence
- Pantheon 2025 — Datawheel (CC BY-SA 4.0)
- UK painters — source authorities and selected artwork research
- Louvre painter identity and WikiArt profile links
- UK painters — source authorities and selected artwork research
Art, literature & history