Joseph Mallord William Turner Study for 'Dido and Aeneas' 1805
Joseph Mallord William Turner 1775–1851
Folio 5 Recto:
Study for ‘Dido and Aeneas’ 1805
D05774
Turner Bequest XCIII 5
Turner Bequest XCIII 5
Pen and ink and brown wash on white wove paper, prepared with a grey wash, 171 x 262 mm
Inscribed by John Ruskin in red ink ‘5’ bottom left, descending vertically
Stamped in black ‘XCIII 5’ bottom left, descending vertically
Inscribed by John Ruskin in red ink ‘5’ bottom left, descending vertically
Stamped in black ‘XCIII 5’ bottom left, descending vertically
Accepted by the nation as part of the Turner Bequest 1856
Exhibition history
1990
Painting and Poetry: Turner’s ‘Verse Book’ and his Work of 1804–1812, Tate Gallery, London, June–September 1990 (13).
2002
Turner et le Lorrain, Musée des beaux-arts, Nancy, December 2002–March 2003 (12).
References
1909
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.242, XCIII 5.
1984
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984, p.93.
1990
Kathleen Nicholson, Turner’s Classical Landscapes: Myth and Meaning, Princeton 1990, pp.277, 279 reproduced fig.145.
1990
Andrew Wilton and Rosalind Mallord Turner, Painting and Poetry: Turner’s ‘Verse Book’ and his Work of 1804–1812, exhibition catalogue, Tate Gallery, London 1990, p.119 reproduced.
1993
David Hill, Turner on the Thames: River Journeys in the Year 1805, New Haven and London 1993, p.165.
2001
Martin Butlin, ‘Carthage’ in Evelyn Joll, Martin Butlin and Luke Herrmann eds., The Oxford Companion to J.M.W. Turner, Oxford 2001, p.43.
2002
Ian Warrell, Blandine Chavanne and Michael Kitson, Turner et le Lorrain, exhibition catalogue, Musée des beaux-arts, Nancy 2002, p.60 reproduced in colour.
Dido and Aeneas (Tate N00494)1 was exhibited at the Royal Academy in 1814 but probably painted earlier. For the picture and subject, see especially catalogue note to the coloured study in the contemporary Studies for Pictures: Isleworth sketchbook (Tate D05520; Turner Bequest XC 21).
The present study in ink and monochrome wash anticipates both coloured version and picture, closely enough to suggest that Turner chose it in preference to a variant composition study in the Wey, Guildford sketchbook (Tate D06182; Turner Bequest XCVIII 2). At upper left, Turner has drawn the points of the compass, presumably as a guide to the position of Carthage and the dawn lighting effects required for the picture. When he painted it, he showed the light rising on the left.
The present study in ink and monochrome wash anticipates both coloured version and picture, closely enough to suggest that Turner chose it in preference to a variant composition study in the Wey, Guildford sketchbook (Tate D06182; Turner Bequest XCVIII 2). At upper left, Turner has drawn the points of the compass, presumably as a guide to the position of Carthage and the dawn lighting effects required for the picture. When he painted it, he showed the light rising on the left.
See also folio 4 verso and 5 verso–7 (D05773, D05775–D05778 ) for other figure studies which have been associated with the picture.
David Blayney Brown
October 2007
How to cite
David Blayney Brown, ‘Study for ‘Dido and Aeneas’ 1805 by Joseph Mallord William Turner’, catalogue entry, October 2007, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012, https://www