Turner Quotes - page 3
Turner was much more interested in the interplay between the atmosphere and sunlight and how he could use this to heighten the effects of his landscapes and seascapes. Constable rarely painted the atmosphere at all but concentrated on the clouds and the sky. The visibility in Constable's landscapes is nearly always very good, such that the horizon can be clearly seen; he rarely painted mist or fog. Turner on the other hand delighted in mist and fog which often blot out the horizon and sky in his paintings.
John Constable
![I remember one evening on the Tamar [river in South-west England]; the sun had set, and the shadows become very deep. Demaria, looking at a seventy-four [ship] lying under Saltash in Cornwall, said, 'You were right, Mr. Turner; the ports cannot be seen. The ship is one dark mass'. 'I told you so', said Turner: 'now you see it all is one mass of shade'. 'Yes, I see that is the truth, and yet the ports are there'. [Turner:] 'We can take only what we see, no matter what is there. There are people in the ship: we don't see them through the planks'. 'True', replied Demaria. There had been a discussion on the subject before between the two professional men, in which Turner had rightly observed that after sunset, under the hills, the port-holes were undiscernible. We now had ocular proof of it. (J. M. W. Turner)](https://cdn.quotesdtb.com/img/quotes_images_webp/79/j-m-w-turner-1016379.webp)
The zealous care with which Turner endeavoured to do his duty, is proved by a large existing series of drawings, exquisitely tinted, and often completely coloured, all by his own hand, of the most difficult perspective subjects-illustrating not only directions of line, but effects of light - with a care and completion which would put the work of any ordinary teacher to utter shame. In teaching generally - he would neither waste time nor spare it - he would look over a student's drawing at the Academy, point to a defective part, make a scratch on the paper at the side, say nothing. If the student saw what was wanted, and did it, Turner was delighted; but if the student could not follow. Turner left him.
J. M. W. Turner
On one occasion [1840's] I had the audacity to ask him [Turner] if he painted his clouds from nature.. .The words had hardly passed my lips when I saw my gaucherie. I was afraid I had roused a thunderstorm; however, my lucky star predominated.. ..after having eyed me for a few moments with a slight frown, he growled out 'How would you have me paint them?' Then seizing upon his fishing-rod, and turning upon his heel, he marched indignantly out of the house to the water's-edge.
J. M. W. Turner
I have heard him speak most enthusiastically in praise of Gainsborough's execution and Wilson's tone, and he plainly thought himself their inferior. My father had some admirable oil sketches of Gainsborough; and these Turner one evening examined by candle-light so closely that the next morning he complained of having hurt his eyes.
J. M. W. Turner
Turner visited Plymouth (my native town) while I was staying there in the summer of 1813, or perhaps 1814 (1812 ?), painting portraits. As he wished to see the scenery of the river Tamar - [river in South-west England], I accompanied him, together with Mr. Ambrose Johns from Plymouth.. ..to a cottage near Calstock, the residence of my aunt, Miss Pearce, where we all stayed for a few days. From that point as a centre Turner made various excursions, and the result of one of his rambles was a sketch of the scene which afterwards grew into the celebrated picture of the painting 'Crossing the Brook'. The bridge in that picture is Calstock Bridge; some mining works are indicated in the middle distance. The extreme distance extends to the mouth of the Tamar, the harbour of Hamoaze, the hills of Mount Edgcumbe, and those on the opposite side of Plymouth Sound. The whole scene is extremely faithful.
J. M. W. Turner
About this time [c. 1812] Turner removed to Twickenham, where he purchased Sandycomb Lodge, near Richmond Bridge [London]. It was an unpretending little place, and the rooms were small. There were several models of ships in glass cases, to which Turner had painted a sea and background. They much resembled the large vessels in his sea pieces. Richmond scenery greatly influenced his style. The Scotch firs (or stone-pine) around are in most of his large classical subjects, and Richmond landscape is decidedly the basis of 'The Rise of Carthage'. Here he had a long strip of land, planted by him so thickly with willows that his father, who delighted in the garden, complained that it was a mere osier-bed. Turner used to refresh his eye with the run of the boughs from his sitting-room window.
J. M. W. Turner
Henry Howard, R.A., was an early friend of my father's; and he and Turner have stayed with us at Heston. I remember, when I was about five years old, going to Penn, in Buckinghamshire, with Howard, Turner, and my father [c. 1812]; all of them in search of the picturesque. We went in a post-chaise, and, when tired, my father carried me pick-a-back. We came to a halt in a grove or copse where luxuriated wild flowers in profusion. It was a charming day; and, though so many 'years bygone' I can see now vividly before me my father and Howard, both standing legs a-straddle, and Turner at a little distance in a ditch, all hard at work at the easthetical. After a while Turner emerged from his retreat with a capital water-colour, with which Howard and my father were in raptures. He said he got into the ditch to avoid the sun, but Howard whispered my father that it was to avoid showing his modus operandi. I have heard this from my father subsequently..
J. M. W. Turner
Turner was much more interested in the interplay between the atmosphere and sunlight and how he could use this to heighten the effects of his landscapes and seascapes. John Constable rarely painted the atmosphere at all but concentrated on the clouds and the sky. The visibility in Constable's landscapes is nearly always very good, such that the horizon can be clearly seen; he rarely painted mist or fog. Turner on the other hand delighted in mist and fog which often blot out the horizon and sky in his paintings.
J. M. W. Turner
Anthea Turner: "I've got a huge amount of respect for Madonna - she's often labeled a control freak but she's just a perfectionist. There's a difference between looking tacky and artistic, and I think Madonna looks incredible. You can celebrate your body whatever age you are - there's no limit."
Madonna (entertainer)
![..Turner did not believe that colour was reducible to system; and Gainsborough, when painting his 'Blue Boy', seems to have been of the same opinion. I think it was the remark of Mr. Field, when we were looking at that celebrated picture [ Blue Boy ], that Gainsborough's eye was truer than his head, since against his theory he had introduced a sufficiency of warm colours into the flesh tints to balance the predominating cold of the picture. (Thomas Gainsborough)](https://cdn.quotesdtb.com/img/quotes_images_webp/28/thomas-gainsborough-balance-believe-1006428.webp)
Sharon Tate is divine, a real find. Just wait and see what happens when the critics and public see her in Valley of the Dolls. Sharon has everything Marilyn Monroe had - and more. She has the fascinating, yet wholly feminine strength of a Dietrich or a Garbo, a classically beautiful face, an exciting figure, the kind of sex appeal and personality appeal to become as glittering a star as Bette Davis, Joan Crawford, Rita Hayworth, Lana Turner, Elizabeth Taylor.
Sharon Tate
This might give you an idea of how backward we are, but first, to appreciate this story, you've got to know that in eastern Kentucky we say the word "press" instead of "closet." Anyway, one of my best friends is Dr. John Turner, who took care of me when I was younger.
Doc swears he saw this patient standing in front of the hospital elevator, looking confused. Doc asked him what was the matter, and the patient said, "Doc, I just seen a nurse get into that press - and when the door opened she was gone!" See, that patient lived in a holler all his life and never saw an elevator before. Myself, I never rode in an automobile until I was twelve.
Loretta Lynn
I don't know the counts of Unix and Linux servers. I do know that my heart sinks whenever I look under the hood in Linux. It is has been so overfed by loving hands. Over 240 system calls! Gigabytes of source! A C compiler with a 250-page user manual (not counting the language definition)! A simple page turner, 'less,' has over 40 options and 60 commands! It's proof that open-source can breed monsters just like the commercial pros. Miraculously, though, this monster works.
Doug McIlroy
