In the mid-19th century,
Royal Academies in Paris and London held yearly exhibitions to encourage
interest in the contemporary arts.
Academy members could showcase their art during these exhibitions, or
salons, as they were called. Salons were
important social events where reputations were acquired. Scientific inventions, art, new fashion
design, and other creative works could gain worldwide notoriety through being
featured in these exhibitions. It was a
kind of world's fair, and artists who were good enough to enter into the salons
held the possibility of making a great amount of money in selling their
paintings to patrons and visitors.
Contemporary European art now had its own quasi-exclusive club that
acted like a stable home for its consistent production, development, and
growth.
In 1834, the British House of
Parliament building was destroyed in a fire and was consequently under
reconstruction over the next four decades.
As you can imagine, it was quite a historic event. To commemorate this event, the burning of
Parliament, J. M. W. Turner exhibited paintings of the scene which he made from
memory (Turner was an eye-witness to Parliament's destruction). He chose to paint the scene in a blurred mass
of sketchy brushstrokes, done stylistically in order to produce the effect of
the smoky air on that day. His painting
did not contain much detail or photorealism, and it was in turn highly
criticized by the Royal Academy. And so
now we begin to see how many famous artists started out as Royal Academy salon rejects.
It's easy to critique paintings
like Turner's Burning of the Houses of Lords and Commons because it looks
unrealistically and hastily fashioned.
Critics of the day would argue that this artist, because of his style,
lacked the kind of higher-scale talent required to enter into the prestigious
Royal Academy salons, but let us not forget that these painters were all
Classically trained. We have looked at
this painting as well as Turner's Snow Storm image of a Steamboat off a
Harbor's Mouth and perhaps have thought the artist's style unique enough, but a
look at his earlier work will remove all doubt that he was not perfectly able
to create photorealistic images on his canvas.
In paintings such as this, his first exhibited artwork, we see just how
masterfully the artist's brushstrokes and color palate could envision a
stunningly lifelike image of nature as it really appears. Artists like J. M. W. Turner chose to paint in other styles for
different reasons—to experiment with new ideas or to express inner emotions—not because they weren't able to paint
Classically realistic forms.
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