Introduction

This month we feature an article written by MA Curation: Contemporary Art and Cultural Management student Binjie Wang, who writes about a striking depiction of Stonehenge, depicted in the form of an engraving after an original artwork by JMW Turner. The engraving, entitled Stone Henge Wiltshire, was made by Robert Wallis and published in 1829. It forms part of a collection of engravings based on sketches and paintings by Turner, entitled Picturesque Views in England and Wales.

Binjie Wang considers not only the life and work of JMW Turner, but also his 'three acquaintances' of Stonehenge of which this engraving is the third.

My third acquaintance with Stonehenge

- JMW Turner 's Stonehenge

Stonehenge is a famous tourist attraction in the UK and is world-renowned. This is something I learned in junior school. My teacher then told me that Stonehenge was very mysterious, and no one knew what it was used for. This particularly captured my attention. This was my first 'acquaintance' with Stonehenge.

Not long after, I watched a film called Transformers: The Last Knight, which is a top-rated film series. Stonehenge is a significant location in this film, and gives the film a fantastic setting. In the movie, Stonehenge is the centre of the whole continent before it was divided, and interconnected with ancient magic.

But in reality, no one knows how Stonehenge was built or how ancient people could move such a huge and heavy stone, which makes it even more mysterious; and this was my second introduction to Stonehenge.

As an international student, when I landed at Heathrow on my first day by plane and then took the car down the A303 to Exeter, it was impossible to describe the emotions I felt when I saw Stonehenge appear from the horizon. It was so huge, even a few dozen metres away. Compared to it, the humans at its feet were so tiny. What sticks in my mind is that it was a rainy day. As I passed by Stonehenge in my car, a lightning bolt cut through the sky like a sharp sword, freezing me in a dazzling white light that reminded me of Stonehenge as painted by J. M. W. Turner.

The Engraving

J. M. W. Turner created several images of Stonehenge in different mediums. But whether in watercolour, pencil or ink they are all representative of J. M. W. Turner 's individual style.

This engraving by Robert Wallis of an original artwork by JMW Turner, is a striking example of Turner’s ability to create romantic scenes and wonderful skies.

Like the old legends, JMW Turner's Stonehenge is full of mystery. The sky is dark, and full of storm clouds. A bolt of lightning strikes from above, with incredible precision onto the stones at the centre of Stonehenge. But as it does now, Stonehenge still stands, unchanged on the Wiltshire landscape. The lightning bolt illuminates Stonehenge, lighting up the stormy night sky, as if a hurricane had formed from the centre of the stones. The lightning is like a key that unlocks the door to the ancient and mysterious Stonehenge. There are sheep on the plain around Stonehenge, many struck by lightning. The shepherd lies on the ground, having also apparently succumbed to the storm. His dog stands by him, distressed.

There is some scientific research that suggests that ancient humans used Stonehenge as a place of worship or as a burial ground. This echoes the catastrophe brought about by the lightning in the image. But the picture is not all catastrophe. The dark clouds cannot cover all the sunlight, and some of it shines through, creating a Tyndall effect, which has been expertly captured in this scene. The pale sunlight is a sign of hope as if the storm is passing and a brighter future is on the horizon. The beauty of this painting lies in Turner's combination of dynamic natural forms and static objects. He has captured that second of stillness and reflected it in the picture. As I stare at this image, I can hear the sound of the storm over Stonehenge two hundred years ago. Just as in reality, the sound of thunder would be heard a few seconds after the lightning itself, this lightning stayed over Stonehenge for two hundred years until today when I caught that low, loud bang.

It is worth noting that there is artistic licence in Turner’s depiction of the stones which appear more delicate and narrow than in reality, but the grandeur and shock of Stonehenge is still captured, which is my third acquaintance with it.

JMW Turner

I first became aware of J MW Turner when he and his work 'The Fighting Temeraire’ appeared on a new edition of the £20 note.

Joseph Mallord William Turner (1775 - 1851) was one of 19th century England's most famous and skilled artists. At the same time, he was also one of the leading figures in the Royal Academy of Art and one of the most distinguished landscape painters in the history of Western art. He was the son of a barber in London, and, like many of the masters of painting, he was discovered to have a talent for painting from an early age. At the time, however, watercolour was an unpopular style and landscape painting was seen as an irrelevant and 'low-grade' subject used only as a backdrop to pictures, often done by apprentices. Turner's talent and hard work saw both watercolour and landscape painting become separate genres and enter the mainstream of painting. To this day, the power of British watercolour painting is recognised worldwide.

Turner is known for his ability to depict highly varied light, air and space seascapes. He was particularly adept at forging the subtle relationship between light and air, with a particular mastery of the diffusion of water and air. He travelled all over Italy before finally concentrating on the changing light, and colour of the sea. He focused on the intensity of the morning, the clouds and the activity of the wind and rain on the sea. In terms of colour, he cultivated a particular approach and innovative pigments with a romantic sensibility. In his old age, he devoted himself to exploring painting form and colour, contributing significantly to what was later to become the Impressionist movement in England and France. He once said that depicting nature required accurate observation and that his paintings reflected his visual perception. Turner's visual perception and experience resulted from his long and careful observation of nature. His work was highly imaginative, and he produced thousands of drawings, engravings, watercolours and oils throughout his life. His interest in painting landscapes was focused on the variation and grasp of light and tone rather than the shape of the landscape form itself.

In his later years, Turner lived a wealthy life, with several properties by the sea. He always had a particular fascination with the sea, and into his old age, he would often walk along the beach and look out over the sea he had painted with his brush all his life.

References

The Guardian newspaper: JMW Turner’s Stonehenge: ancient stones and bloodthirsty skies:

Historic Cornwall: J M W Turner’s Stonehenge:

British Library: Turner's topographical watercolours:

Konwethas ertach kernow: [Turner's travels over Tamar tell Cornwall's story:]https://www.cornwallheritage.com/ertach-kernow-blogs/ertach-kernow-j-m-w-turner-travels-in-cornwall/

Wikipedia

TATE