Alma Tadema's Oil Paintings
	Alma Tadema Museum 8 January 1836 – 25 June 1912. Most renowned painters.
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Here are all the paintings of Joseph Mallord William Turner 02

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
55063		Construct of number four	mk239 1911 Oil on canvas 159.5x250.5cm
55139		Constructure number 8	mk239 140x201cm
55190		Continue	mk239 1935 oil on canvas 81x100cm
55178		Control	mk239 1929 oil on canvas 35x49cm
55067		Cover	mk239 1911 Watercolour 27.7x21.9cm
55068		Cover	mk239 1911 Watercolour 27.9x21.9cm
55166		Cover	mk239 28x21.5cm
55043		Cow	mk239 1910 Oil on canvas 95.5x105cm
68562		Crossing the Brook	Crossing the Brook by J. M. W. Turner, 1815, oil on canvas, 193 ?? 165 cm. Currently housed in the Tate Gallery.
24468		Crossing the brook (mk31)	1815 Oil on canvas 193x165cm
73150		Crossing the Brook by	1815, oil on canvas, 193 X 165 cm. cyf
71868		Crossing the Brook by J. M. W. Turner	Crossing the Brook by J. M. W. Turner, 1815, oil on canvas, 193 x 165 cm. Currently housed in the Tate Gallery.
91524		Cumberland	1798(1798) Medium oil on canvas Dimensions 91,5 x 122 cm cyf
89349		Das Forum Romanum, fur Mr. Soanes Museum	1826(1826) Medium oil on canvas Dimensions 145,5 x 237,5 cm cjr
89158		Death on a pale horse	c. 1825(1825) Medium oil on canvas Dimensions Height: 597 cm (235 in). Width: 756 cm (297.6 in). cjr
75047		Deluge	English: The Deluge, oil painting in the Tate Gallery, London Date 1805 cyf
54869		Dentist	mk238 1808 Oil on canvas
55185		Depression	mk239 1933 Watercolour 47.3x66.8cm
87917		Der Genfer See von Montreux aus gesehen	Date 1810(1810) Medium Oil on canvas Dimensions 105,4 x 165 cm cjr
89753		Der Park Petworth: Im Hintergrund die Kirche von Tillington	c. 1830(1830) Medium Oil on canvas Dimensions 63,5 x 139 cm cjr
31835		Details of Mortlake terrace:early summer morning	mk76 Painted in 1826 Oil on canvas 36 5/8x48 1/2in
3219		Dido Building Carthage	1815 National Gallery, London
78967		Dido Building Carthage aka The Rise of the Carthaginian Empire	Dido Building Carthage aka The Rise of the Carthaginian Empire (painting - oil on canvas) Date 1815(1815) cjr
40655		Dido Building Carthage or the rise of the Carthaginian Empire	mk156 1815 Oil on canvas 155.5x23.2cm
89757		Die Chain-Pier von Brighton	c. 1828(1828) Medium oil on canvas Dimensions 71 x 136,5 cm cjr
87200		Die funfte Plage von agypten	Date 1800(1800) Medium Oil on canvas Dimensions 124 x 183 cm cjr
91970		Die funfte Plage von Agypten	1800(1800) Medium oil on canvas Dimensions 124 X 183 cm cyf
87920		Die Schlacht bei Trafalgar, von den Steuerbordbesanwanten der Victory aus gesehen	Date 1806-1808 Medium Oil on canvas Dimensions Deutsch: 172,7 x 238,8 cm cjr
66583		Die Teufelsbrocke St. Gotthard	c. 1803-1804 76,8 x 62,8 cm
54844		Disaster	mk238 1805 Oil on canvas 172x241cm
87860		Dogana und Santa Maria della Salute, Venedig	Date 1843(1843) Medium Oil on canvas Dimensions Deutsch: 91,4 x 122 cm cjr
3211		Dolbadern Castle	1799 Tate Gallery, London
55034		Draw	mk239 1909 Oil on canvas 175.2x144.7cm
55099		Draw	mk239 1915 Watercolour 15.7x23.6cm
55188		Draw	mk239 1932 Oil painting 49x70cm
55071		Draw of Circle	mk239 1911
55097		Drea	mk239 1914 Oil on canvas 120x111cm
55091		Dreaw with white line	mk239 1913 25.8x34.5cm
52518		Dutch Boats in a Gale	1801 Oil on canvas, 163 x 221 cm
89868		Ein gestrandetes Schiff	c. 1828(1828) Medium Oil on canvas Dimensions 70 x 136 cm cjr
56676		eldsvada till havs	mk248 turenr avgudade bavet ocb malade vid alla vaderlekar. skeppet som star i centrum for danna katastrof ar orontes. hon gick inte under i nagon strm utan sedan ett stearinljus bytt antant en bog med balm. turner later later roken ocb lagorna virvla runt med bavet ocb bimlen till en enda valdig virvelstrom. massan av bimmelska vasen, tills betraktaren med en rysing inser att detta ar de olyckiga passagerarna som forlorar kampen mot de bada forbarskande elementen eld ocb vatten.
55175		Enter the dark	mk239 1928 48x31.8cm
55109		Exercise	mk239 1916 Watercolour 23x29cm
55080		Expression	mk239 1911 14.5x21.7cm
54976		Factory	mk238 1840 Watercolour 24.3x30.8cm
55078		Fairyland	mk239 1911-1912 Watercolour 30.1x20.5cm
24495		Festive Lagoon scene,Venice (mk310	Oil on canvas 91x121cm
55203		Fifteen	mk239 1938 34.5x50cm
54835		Fifth tragedy of Egypt	mk238 1800 125x183cm
76766		Fighting Temeraire	Date 1838(1838) Medium Oil on canvas Dimensions 91 ?? 122 cm (35.83 ?? 48.03 in) cyf
54937		Fire	mk238 1834 Watercolour 23.4x32.7cm
73321		Fire at Sea	oil on canvas, by the British artist J. M. W. Turner. 171.5 cm x 220.5 cm (67.52 in. x 86.81 in.). cyf
89765		Fire on the Sea	c. 1834(1834) Medium oil on canvas Dimensions 171,5 x 220 cm cjr
55038		First draft	mk239 1910 Oil on canvas 71x71cm
55040		First draft	mk239 1910 32.9x32.9cm
55064		First draft	mk239 1911 Oil on canvas 94.5x139cm
55093		First draft	mk239 1913 Watercolour 27.6x38.1cm
55100		First draft	mk239 1913 Watercolour 23.8x24cm
55121		First draft	mk239 1919 Watercolour 24x19cm
55132		First draft	mk239 1923 36.8x36cm
88015		Fischen am Blythe-sand, die Flut setzt ein	1809(1809) Medium Oil on canvas Dimensions 89 x 119,5 cm cjr
54831		Fisher	mk238 1796 Oil on canvas 91.4x122.2cm
54837		Fisher	mk238 1802 Oil on canvas 91.4x122cm
89325		Fishermen at Sea	1796(1796) Medium oil on canvas cyf
3210		Fishermen at Sea (The Cholmeley Sea Piece)	1796 Tate Gallery, London
24457		Fishermen at sea (mk31)	1796 Oil on canvas 91.5x122.4cm The Tate Gallery,London
24458		Fishermen at sea (mk31)	1796 Oil on canvas 91.5x122.4cm
90424		Fishermen Cleaning and Selling Fish	1807(1807) Medium oil on canvas Dimensions 134,5 x 179 cm cyf
31831		Fishing boats entering calais harbor	mk76 Painted c.1803 Oil on canvas 29x38 3/4in
38145		Fishing Boats Entering Calais Harbor	mk29 c.1803 Oil on canvas 73.7x98.4cm
82566		Fishing Boats with Hucksters Bargaining for Fish	Fishing Boats with Hucksters Bargaining for Fish (1837-1838) by JMW Turner, Oil on canvas, 174.5 x 224.9 cm, Art Institute of Chicago Date 1837-1838 cjr
24467		Fishing upon Blythe-sand,tide setting in (mk31)	1809 Oil on canvas 89x119.5cm
24459		Fishmarket on thte beach (mk31)	1802-1804 Oil on canvas 43.2x58.4cm
54953		Flammulated sky	mk238 1840-1845 30.5x48cm
54838		Flood	mk238 1805 Oil on canvas 143x235cm
55095		Flood	mk239 1914 Oil on canvas 108.5x140cm
55145		Fly	mk239 1924 Watercolour 30x40cm
54849		Forest	mk238 1805 Watercolour 25.7x36.8cm
55032		Forthright	mk239 1909 Oil on canvas 32.9x44.6cm
54913		Fountain	mk238 1822 Watercolour 18.4x14cm
54876		Freezing Morning	mk238 1813 Oil on canvas 113.x6174.6cm
62552		Frosty Morning	1813 Oil on canvas, 114 x 175 cm Tate Gallery, London This Yorkshire scene has an air of numbing chill, with rime glistening on earth and wild plants. Turner's English subjects still looked to the Dutch painter Aelbert Cuyp (1620-1691), but he was demonstrating his own contribution to this tradition and the benefits of study direct from nature. Author: TURNER, Joseph Mallord William Title: Frosty Morning Form: painting , 1801-1850 , English , landscape
54936		Gate	mk238 1832 14.2x19.1cm
55163		Gaze	mk239 1926 Oil on canvas 111x105cm
55049		Gentlewoman	mk239 1910 Oil on canvas 110x109cm
54921		Georgian	mk238 1822 Oil on board 68.5x91.8cm
42759		Glacier and source of the Avyron, Chamonix	MK169 1802-03 water Color on paper 68.5x101.5cm
77672		Glaucus and Scylla	'??Glaucus and Scylla??', 1841, oil on panel painting by Joseph Mallord William Turner, Kimbell Art Museum. cjr
80943		Glaucus and Scylla	1841, oil on panel painting by Joseph Mallord William Turner, Kimbell Art Museum Date 1841(1841) cyf
24465		Grand Junction Canal at Southall Mill Windmill and Lock (mk31)	1810 Oil on canvas 92x122cm
55115		Gray	mk239 1917 Oil on canvas 25.4x28.5cm
55128		Gray	mk239 1922 Watercolour 46.7x42.5cm
55149		Gray	mk239 1924 48.9x33.8cm
55197		Group	mk239 1938 116x89cm
54931		Hafulier	mk238 1832 Watercolour 13.8x18.7cm
54894		Hall	mk238 1827 Watercolour 13.4x19.1cm
55152		Happy construct	mk239 1924 Watercolour 35x23cm
55137		Happy rise	mk239 1923 23.8x19.3cm
55211		Harmonic	mk239 1942 114x146cm
24469		Hastings:Deep-sea fishing (mk31)	1818 Watercolour 39.8x59.1cm

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Joseph Mallord William Turner

English Romantic Painter, 1775-1851 Joseph Mallord William Turner (23 April 1775 ?C 19 December 1851) was an English Romantic landscape painter, watercolourist and printmaker, whose style is said to have laid the foundation for Impressionism. Although Turner was considered a controversial figure in his day, he is now regarded as the artist who elevated landscape painting to an eminence rivalling history painting. Turner's talent was recognised early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterised by a chromatic palette and broadly applied atmospheric washes of paint. According to David Piper's The Illustrated History of Art, his later pictures were called "fantastic puzzles." However, Turner was still recognised as an artistic genius: the influential English art critic John Ruskin described Turner as the artist who could most "stirringly and truthfully measure the moods of Nature." (Piper 321) Suitable vehicles for Turner's imagination were to be found in the subjects of shipwrecks, fires (such as the burning of Parliament in 1834, an event which Turner rushed to witness first-hand, and which he transcribed in a series of watercolour sketches), natural catastrophes, and natural phenomena such as sunlight, storm, rain, and fog. He was fascinated by the violent power of the sea, as seen in Dawn after the Wreck (1840) and The Slave Ship (1840). Turner placed human beings in many of his paintings to indicate his affection for humanity on the one hand (note the frequent scenes of people drinking and merry-making or working in the foreground), but its vulnerability and vulgarity amid the 'sublime' nature of the world on the other hand. 'Sublime' here means awe-inspiring, savage grandeur, a natural world unmastered by man, evidence of the power of God - a theme that artists and poets were exploring in this period. The significance of light was to Turner the emanation of God's spirit and this was why he refined the subject matter of his later paintings by leaving out solid objects and detail, concentrating on the play of light on water, the radiance of skies and fires. Although these late paintings appear to be 'impressionistic' and therefore a forerunner of the French school, Turner was striving for expression of spirituality in the world, rather than responding primarily to optical phenomena. Rain, Steam and Speed - The Great Western Railway painted (1844).His early works, such as Tintern Abbey (1795), stayed true to the traditions of English landscape. However, in Hannibal Crossing the Alps (1812), an emphasis on the destructive power of nature had already come into play. His distinctive style of painting, in which he used watercolour technique with oil paints, created lightness, fluency, and ephemeral atmospheric effects. (Piper 321) One popular story about Turner, though it likely has little basis in reality, states that he even had himself "tied to the mast of a ship in order to experience the drama" of the elements during a storm at sea. In his later years he used oils ever more transparently, and turned to an evocation of almost pure light by use of shimmering colour. A prime example of his mature style can be seen in Rain, Steam and Speed - The Great Western Railway, where the objects are barely recognizable. The intensity of hue and interest in evanescent light not only placed Turner's work in the vanguard of English painting, but later exerted an influence upon art in France, as well; the Impressionists, particularly Claude Monet, carefully studied his techniques.

All the Alma Tadema's Oil Paintings

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