0
0
Dynamically Lighted Skies
J. M. W. Turner created paintings and prints with dynamically lighted skies, in a way that Monet had in mind, but in a different tone.
Turner exhibited his works of art at twenty-three years old at Buttermere Lake, at the same time he also documented examples of poetry depicting his dynamic lighted skies. He writes how the banks of shadow have the gentle breadth of tone. And as he portrays the lighted scene it appeared that the painter was awed by the majesty of light.
Significantly, he avoided the lines in which the Bowery prism unfolded the colors of Newton’s spectrum. His poem was different, and he thought color had little part of it. In contrast with Monet, Turner thought light and the grandeur that it gave the place excluded everything else including color. Although, as the light fell it scattered shining flecks, and sprinklings of incandescent pigment. They suggest that one other thing was as real to him — the paint itself.
Moving on to when Turner became Professor of Perspective at the Academy, and in his own words acknowledged Monet’s achievement to his students: “The golden orient or the amber-colored ether, the midday ethereal vault and fleecy skies, respondent valleys … rich, harmonies, true and clear, replete with all the aerial qualities of distance, aerial lights, and aerial color.”
In essence, both Turner and Monet agree as far as the effects of the dynamically lighted skies.
