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Norham Castle, Sunrise, 1844, oil on canvas, 91 x 122 cm Tate Gallery
In the luminous atmospheric style of the master's later years.
Reduced to it's essentials of form and colour
Norham Castle, Sunrise, watercolour By Douglas
Carpenter
"A group of French painters, united
in the same aesthetic aims...applying themselves with passion to the rendering
of form in movement as well as the fugitive phenomena of light, cannot forget
that they have been preceded in this path by a great master of the English, the
illustrious Turner."(from a letter signed by Monet, Pissarro,
Degas, Renoir, and others)
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Retrospect: Norham Castle, 1798-1840 This is one of many unfinished oil paintings based on the plate from the Liber
Studiorum R57 dated probably around 1835-40, or later and is Turner at the height of his development for topographical subjects. Turner visited Norham Castle on his tour of Northern England in 1797. His sketchbooks from that tour contains a single drawing of the castle on the cliff above the River Tweed. From this drawing Tuner
exhibited a watercolour in the Royal Academy in 1798, titled Norham Castle-Summer's Morn'.
Turner returned to this drawing in 1815 to reference a plate for the Liber Studiorum, and late for the series
illustrating the Rivers of England around 1822-4. The watercolour for this plate is said to be the beginnings of Turners prismatic use of colour i.e. juxtaposed touches of pure blue and yellow. Later used by the Impressionist painters to create vibrancy.
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