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Artist J.M.W.Turner 1775 - 1851. Perhaps the most famous English Romantic landscape artist. He became known as 'the painter of light'. "If I could find.

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Presentation on theme: "Artist J.M.W.Turner 1775 - 1851. Perhaps the most famous English Romantic landscape artist. He became known as 'the painter of light'. "If I could find."— Presentation transcript:

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2 Artist J.M.W.Turner 1775 - 1851. Perhaps the most famous English Romantic landscape artist. He became known as 'the painter of light'. "If I could find anything blacker than black, I'd use it." J. M. W. TURNER

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6 Constable (1776 – 1837)wrote that "It will be difficult to name a class of landscape in which the sky is not the keynote, the standard of scale, and the chief organ of sentiment... the sky is the source of light in nature, and governs everything." The many studies he painted of the sky attest to his continual interest in the drama that sky could impart to a painting. John Constable

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10 He studied Zoology, not art, but found that painting allowed him to better express his love of the natural world. As Jackson is so immersed in the landscape, he is sensitive to the threats it faces. Kurt is a committed and active environmental campaigner, and often gives paintings to charities to help them raise funds to protect the landscape he so loves. KURT JACKSON

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14 Mark H Wilson Light and colour are everything in my work. As Turner said; “the sun is God.” I am inspired by the constantly changing sky around where I live. I love storm skies with the sun trying to break through the clouds. I can look at what some people just call a grey sky and find so much colour in there, blue greys, pink greys combined with sunlight are what excites me. Blue skies are nice but a bit boring. I always try and watch the sunrise and sunsets over the city, my favourite times of day, as each one is so different and that’s where I get my colours.

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18 She studied Art in London but her work has always been about the natural environment. Her work is concerned with a meticulously worked paint surface, where rich, rhythmical patterns create disconnected and mysterious spaces. At one instant, a monument land-mass seems to spread across the canvas, impregnable and reassuring. Then, quite suddenly, it trembles on the verge of dissolution. The apparently solid elements within the painting break apart, making us aware of its fundamental vulnerability. THERESE OULTON

19 Untitled No. 12Oil on canvas, 2007

20 Untitled No. 16 Oil on canvas2007

21 Untitled No. 7Oil on canvas, 2008

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