Turner displayed an evident evolution in his painting style throughout his long career. Though he stayed true to the genre of landscape, as his career progressed he began to pay less attention to the details of objects and landscape and more attention to the effects of light and color. He became increasingly fascinated with natural and atmospheric elements.
In Turner's early paintings he executed dramatic, Romantic subjects by emphasizing luminosity, and atmosphere. One can observe a more precise attention paid to architectural and natural details in his early years, as compared to his later years.
During this time, he played around with all the styles of landscape composition including historical, architectural, mountainous, pastoral and marine. His series of 71 etchings, inspired from his existing paintings and watercolors, show all of these styles (1807-1819).
Turner's painting style shifted during the 1880s. His painting became more luminous and atmospheric. He began to focus more on color than the details of the actual topography. St. Mawes at the Pilchard Season (1812) is an example.
Frosty Morning (1813) is based solely on the effects of light. As time progressed he paid less attention to specific details and more to atmospheric quality created by the natural elements, such as the sun.
Still, less and less attention is given to detail, while his canvas now begin to assume a suggestion of movement. His Norham Castle, Sunrise and With A Boat Between Headlands are both examples of slightly brushed canvases, mere color notations.
Some of his more famous later paintings, he approaches the subject of modern technology. He pays a tribute to the passing age of sail ships that were soon to be replaced by steam-powered vessels. He moves away from marine subject matter, and focuses now on the railway in Rain, Steam, and Speed-the Great Western Railway (1844). This is a prime example of how Turner focused mainly on colors and the idea of fluidity through his whirling colors.
Turner's watercolor paintings provided a later influence on his technique with oil paint. He started to use oil paint in a translucent manner, similar to the effect of water color, which helped produce his original style.
Before painting a vast majority of his work, as many of his subjects (mainly water) changed so quickly, he had to do preliminary sketches. He later turned his sketches in to watercolor or oil paintings.
Coleridge's Romantic Imagination Essay
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Coleridge's Romantic Imagination
The concept of the romantic imagination is subject to varied interpretation due to the varied and changing perceptions of romantic artists. There are several ways through which the concept of the romantic imagination in Samuel Taylor Coleridge's poetry can be perceived. This difference in perception is a result of the reader's personal interpretation of the subject matter, which varies from person to person. Therefore, the focus of this analytical discussion will be based upon my own personal rendition of Coleridge's romantic imagination. This personal interpretation of the romantic imagination will be revealed through an analysis of Coleridge's state of mind as he interacts with nature.…show more content…
Lastly, once one is able to recognize that the diversity and purity of nature puts Coleridge in a virtuous and individualistic state of mind, one is able to perceive of how these connections with nature, in turn allow him to achieve an affiliated state of mind.
Many of Coleridge's poems present detailed accounts of his interactions with nature. Though it is easy to assume that this detail is simply an attempt to make his poetry more beautiful and pleasing to the average reader, one must contemplate Coleridge's true intent. Coleridge, in "Aids to Reflection" (1829), several years after writing "Frost at Midnight" (1798), believes that "The reason of [for] the variety and infinity of objects is given in the doctrine that external objects are mere signs of internal essences." (Coleridge, Samuel Taylor. quoted in Gardner, Joseph H., Emerson, ANQ, Coleridge, and a Phantom Quotation., Spring2000, Vol. 13 Issue 2, p32.)
Coleridge's view can be applied to his preceding poetic works in order to give one a clearer comprehension of the state of mind that has resulted from his interaction with nature. If one is to relate Coleridge's latter view to his previous poetry, Coleridge's "painted" account of nature can be seen as a manifestation of his inner self. This connection leads us to see how Coleridge's identification with individual aspects of nature, define his individuality. Once one is able to