The Slave Ship, originally titled Slavers Throwing overboard the Dead and Dying—Typhoon coming on, is a painting by the British artist J. M. W. Turner, first exhibited in 1840. Measuring 35 3/4 x 48 1/4 in. in oil on canvas, it is now in the Museum of Fine Arts, Boston. In this classic example of a Romanticmaritime painting, Turner depicts a ship, visible in the background, sailing through a tumultuous sea of churning water and leaving scattered human forms floating in its wake.
J.M.W. Turner - The Wreck of a Transport Ship (c.1810)
Esta é uma das muitas tragédias marítimas que William Turner retratou ao longo da sua carreira. Pensaram tratar-se do naufrágio do barco Minotauro que ocorreu no final de 1810, mas comprovou-se que existiam esboços desta obra datados de 1806 e que a sua venda ao conde de Yarborough se deu antes daquele desastre que tanta impressão causou na imaginação popular. Este óleo de grandes dimensões traduz a transição do melhor naturalismo inglês para o romantismo de que Turner, também considerado precursor do impressionismo, é figura de proa.
Arte Num Minuto é um programa de Sofia Leite (RTP - Rádio Televisão Portuguesa) por ocasião da comemoração dos 60 anos da Fundação Calouste Gulbenkian
Acho que o cão do Goya não se afogou e anda a correr na praia num quadro do Turner:
Joseph Mallord William Turner - The New Moon; or, 'I've lost My Boat, You shan't have Your Hoop' - exhibited 1840
Victoria Pomery on J.M.W. Turner’s The New Moon; or,‘I’ve lost My Boat, You shan’t have Your Hoop’
I love being by the sea – that feeling of space, of fresh air and being at one with nature. I’m very fortunate to live on the Kent coast, and in the past few months I’ve moved into a beautiful office designed by architect David Chipperfield, which looks directly out to sea. Four large-scale windows frame my view of a busy shipping lane, the remnants of Margate pier and the rocky outcrops of a chalk reef.
I’ve always been drawn to this work and its poetic title – the scene from my window is moments away from Turner’s view. The painting captures perfectly that sense of energy that empty sands and flat, open spaces provoke, as well as the contemplative atmosphere that the sea and sky induce. I remain surprised at the large expanse of sky from Margate beach, and quite often it is difficult to tell sea from sky. The two dogs leaping across the beach is a timeless and very familiar image. We sense their fun, enjoyment and liberation.