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. TurnerRelated topics
aunt bridge brook crossing distance faithful few middle mining miss mouth near perhaps picture point residence result river scene scenery see side sketch sound summer town turner while works Johns days PlymouthRelated quotes
The most important mine of Jesus-Maria at this time was one called Santa Juliana, which had been the means of alternately making and sinking several splendid fortunes. This mine had then reached a depth of between eight and nine hundred feet, and the operations were still tending downwards. The materials were drawn up by mule power applied to a windlass: but as the rope attached to it only extended half way down, another windlass had been erected at the distance of about four hundred feet from the mouth of the cavern, which was also worked by mules, and drew the ores, etc., from the bottom. On one occasion, as I was standing near the aperture of this great pit, watching the ascent of the windlass-rope, expecting every moment the appearance of the large leathern bucket which they employ for drawing up the minerals as well as the rubbish and water from the bottom, what should greet my vision but a mule...
Josiah Gregg
I had on Friday a long visit from Mr. --- alone; but my pictures do not come into his rules of whims of the art, and he said I had "lost my way." I told him that I had, perhaps other notions of art than picture admirers have in general. I looked on pictures as 'things to be avoided,' connoisseurs looked on them as things to be 'mitated'; and that, too, with such a defence and humbleness of submission, amounting to a total prostration of mind and original feeling, as must serve only to fill the world with abortions... But he was very agreeable, and endured the visit, I trust, without the usual courtesies of life being violated. What a sad thing it is that his lovely art is 'so wrested to its own destruction!' Used only to blind our eyes, and to prevent us from seeing the sub shine - the fields bloom - the tree blossom - and from hearing the foliage rustle; while old - black - rubbed out and dirty canvases take the place of God's own works.
John Constable
While the others had got married and moved out to suburbia, I had stayed in London and got into the arts scene through friends like Robert Fraser and Barry Miles and papers like The International Times. We opened the Indica gallery with John Dunbar, Peter Asher and people like that. I heard about people like John Cage, and that he'd just performed a piece of music called 4'33” (which is completely silent) during which if someone in the audience coughed he would say, ‘See?' Or someone would boo and he'd say, ‘See? It's not silence-it's music.' I was intrigued by all of that. So these things started to be part of my life. I was listening to Stockhausen; one piece was all little plink-plonks and interesting ideas. Perhaps our audience wouldn't mind a bit of change, we thought, and anyway, tough if they do! We only ever followed our own noses-most of the time, anyway. ‘Tomorrow Never Knows' was one example of developing an idea.
Paul McCartney
Today, the Israelis tightened the noose on the mass media in northern occupied Palestine and occupied Palestine. No one can report any news or broadcast any footage. [News reports] are subject to the Israeli censorship which permits and disseminates them. Even you at Al-Jazeera Channel were subjected to arrests, interrogation, restricted activities, and the like. Why do the Israelis resort to concealing the truth on the other side? Why? Do they do that only because they accuse the media outlets of setting the coordinates? This is nonsense. We have the coordinates of these Israeli settlements and military positions in the north, centre, or in any part of occupied Palestine. We do not need anybody to give us information, images, or the like. In that case, they want to conceal the true scene of the war on the other side because it will have definite impact on the Israeli street and media and the morale of the Israelis.
Hassan Nasrallah
This Mr. Dewhurst has not understood the Impressionist movement in the very least. All he sees in it is a technical method... He also says that before going to London we knew nothing whatsoever about light; but we have studies that prove the contrary. He omits the influence of Claude Lorrain, Corot, all the 18th-century painters, Chardin most of all. But what he fails to realize is that while Turner and Constable were of service to us, they confirmed our suspicion that those painters had not understood 'The Analysis of Shadows', which in the case of Turner are always a deliberate effect, a plain dark patch. As to the division of tones, Turner confirmed us its value as a method, but not as a means of accuracy or truth to nature. In any case, the 18th century was our tradition. It seems to me that Turner too, had looked at Claude Lorrain. I am even inclined to think there is a picture by Turner, 'Sunset', hung side by side with a Claude.
Camille Pissarro