J.M.W. Turner: Sketchbooks, Drawings and Watercolours

ISBN 978-1-84976-386-8
J.M.W. Turner > 1819-29 Italy and after > Little Liber c.1823-6 > Artwork

Joseph Mallord William Turner The Moon Behind Clouds: ?Study for 'Shields Lighthouse' c.1823-6

Joseph Mallord William Turner, ‘The Moon Behind Clouds: ?Study for 'Shields Lighthouse'’ c.1823-6
Joseph Mallord William Turner 1775–1851
The Moon Behind Clouds: ?Study for ‘Shields Lighthouse’ circa 1823–6
D25314
Turner Bequest CCLXIII 192
Pencil and watercolour on white wove paper, 262 x 314 mm
Watermark ‘J Whatman | Turkey Mills | 1819’
Inscribed by John Ruskin in red ink ‘192’ bottom right
Blind-stamped with Turner Bequest monogram towards bottom right
Stamped in black ‘CCLXIII – 192’ bottom right
 
Accepted by the nation as part of the Turner Bequest 1856
As noted by Andrew Wilton, this is a loose variation on the engraved ‘Little Liber’ design traditionally known as ‘Shields Lighthouse’ (Tate D25431; Turner Bequest CCLXIII 308),1 apparently known as such by comparison with the composition of Shields, on the River Tyne, engraved in 1823 for the Rivers of England from a watercolour of that year (Tate D18155; Turner Bequest CCVIII V).2 Ian Warrell has suggested that Turner may have been working on ‘all three designs at roughly the same time’, noting that the present variation may have influenced the final state of the ‘Little Liber’ mezzotint, with the moon almost obscured rather than in a halo.3
Andrew Wilton has compared the primary design with another rough ‘colour beginning’ of Moonlight, with Shipping (Tate D25305; Turner Bequest CCLXIII 183); Jack Lindsay had reproduced the latter along with the present work without further comment.4 Gerald Wilkinson noted that the ‘hectic, occluded moon is a recurring theme in Turner’s work, from his earliest oil painting onwards’,5 meaning Fishermen at Sea, exhibited in 1796 (Tate T01585).6
1
Wilton 1975, p.63; see also Dupret 1989, p.36.
2
Wilton 1979, p.384 no.732, reproduced.
3
Warrell 1991, p.24.
4
See Andrew Wilton, in Gage, Ziff and Alfrey 1983, p.232; and Lindsay 1966, ill.26, as ‘Colour Structure: Moon burst’.
5
Wilkinson 1975, p,153.
6
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984, pp.1–2 no.1, pl.1 (colour).
Technical notes:
The overall effect appears quite rough and spontaneously atmospheric, with the various tones of watercolour worked both wet in wet and wet over dry. There is loose horizontal pencil hatching at the bottom left, perhaps indicating ripples or waves. There is the pencil outline of a ship under sail towards the right, as also seen in the ‘Little Liber’ design Ship in a Storm (Tate D25432; Turner Bequest CCLXIII 309a), and perhaps an afterthought, the setting and effect being the primary concerns.1
1
See Warrell 1991 p.24, and 2007 p.111.
Verso:
Blank. The surface is darkened and stained, particularly across the lower half.

Matthew Imms
November 2011

How to cite

Matthew Imms, ‘The Moon Behind Clouds: ?Study for ‘Shields Lighthouse’ c.1823–6 by Joseph Mallord William Turner’, catalogue entry, November 2011, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012, https://www.tate.org.uk/art/research-publications/jmw-turner/joseph-mallord-william-turner-the-moon-behind-clouds-study-for-shields-lighthouse-r1133277, accessed 21 November 2024.