Turner ingresó en la Royal Academy Schools a los 14 años y fue elegido académico de pleno derecho a los 26 — un ascenso inusualmente rápido. Viajó sin descanso por Gran Bretaña y después por Europa, llenando cuadernos de bocetos que alimentaban un flujo constante de óleos expuestos, y se hizo conocido por llevar el clima y la luz al límite de lo legible, décadas antes de que eso estuviera de moda.
Su larga rivalidad, a medias amistosa, con John Constable se libró públicamente en la exposición anual de la Royal Academy: en 1832, al ver su discreta marina colgada junto a la vívida Apertura del puente de Waterloo de Constable, Turner habría añadido una simple boya roja a su lienzo en el último momento, lo justo para devolver todas las miradas hacia él. Nunca se casó, legó la mayor parte de su obra terminada e inacabada a la nación, y murió en Londres en 1851.
Cuadros de Turner expuestos, museo por museo
El Art Institute of Chicago
- Fishing Boats with Hucksters Bargaining for Fish — Gallery 220 (1837–38)
- Valley of Aosta: Snowstorm, Avalanche, and Thunderstorm — Gallery 220 (1836–37)
El Ashmolean Museum, Oxford
- View of the High Street, Oxford — Gallery 44 (1809 - 1810)
El Cleveland Museum of Art
- The Burning of the Houses of Lords and Commons, 16 October 1834 — 203B British Painting and Decorative Arts (1835)
Fitzwilliam Museum, Cambridge
- A Beech Wood with Gypsies round a Campfire — Gallery 5 (1799-1801)
- A Beech Wood with Gypsies seated in the Distance — Gallery 5 (1799-1801)
El Louvre
- Paysage avec une rivière et une baie dans le lointain ou Confluent de la Severn et de la Wye — Salle 713 (2e quart du XIXe siècle (vers 1845))
El Metropolitan Museum of Art, Nueva York
- Venice, from the Porch of Madonna della Salute — 808 (ca. 1835)
- Whalers — 808 (ca. 1845)
National Galleries of Scotland, Edimburgo
- Somer Hill, Tonbridge — National (On Display) (1811)
La National Gallery, Londres
- Calais Pier — Room 34 (1803)
- Dido building Carthage — Room 36 (1815)
- Dutch Boats in a Gale ( — Room 36 (1801)
- Rain, Steam, and Speed - The Great Western Railway — Room 40 (1844)
- Sun Rising through Vapour — Room 40 (Before 1807)
- The Fighting Temeraire — Room 40 (1839)
La National Gallery of Art, Washington
- Approach to Venice — M-057 (1844)
- Keelmen Heaving in Coals by Moonlight — M-057 (1835)
- Mortlake Terrace — M-057 (1827)
- Rotterdam Ferry-Boat — M-057 (1833)
- The Junction of the Thames and the Medway — M-057 (1807)
- Venice: The Dogana and San Giorgio Maggiore — M-057 (1834)
Royal Museums Greenwich, Londres
- The Battle of Trafalgar, 21 October 1805 — QH (1822-1824)
La Tate Britain, Londres
- A Country Blacksmith Disputing upon the Price of Iron, and the Price Charged to the Butcher for Shoeing his Poney — Turner and his Critics (Room 32) (exhibited 1807)
- A Disaster at Sea — Toil and Terror at Sea (Room 35) (?c.1835)
- A River Seen from a Hill — Experiments on Canvas (Room 34) (c.1840–5)
- A Wreck, with Fishing Boats — Toil and Terror at Sea (Room 35) (c.1840–5)
- Ancient Italy: Ovid banished from Rome — Turner & Constable Rivals & Originals (exhibited 1838)
- Ancient Rome; Agrippina Landing with the Ashes of Germanicus — Travels in Europe (Room 37) (exhibited 1839)
- Buttermere Lake, with Part of Cromackwater, Cumberland, a Shower — JMW Turner: Rise to Fame (Room 31) (exhibited 1798)
- Caligula’s Palace and Bridge — Travels in Europe (Room 37) (exhibited 1831)
- Castle in an Alpine Valley, called ‘Heidelberg’ — Travels in Europe (Room 37) (c.1844–5)
- Childe Harold’s Pilgrimage - Italy — Turner and his Critics (Room 32) (exhibited 1832)
- Crossing the Brook — JMW Turner: Rise to Fame (Room 31) (exhibited 1815)
- Dido and Aeneas — JMW Turner: Rise to Fame (Room 31) (exhibited 1814)
- Dido building Carthage, or The Rise of the Carthaginian Empire — Turner & Constable Rivals & Originals (exhibited 1815)
- Dolbadern Castle, North Wales — Turner & Constable Rivals & Originals (exhibited 1800)
- Fishermen at Sea — JMW Turner: Rise to Fame (Room 31) (exhibited 1796)
- Frosty Morning — Turner and his Critics (Room 32) (exhibited 1813)
- Harvest Dinner, Kingston Bank — Turner and his Critics (Room 32) (exhibited 1809)
- Juliet and her Nurse — Turner & Constable Rivals & Originals (exhibited 1836)
- Keelmen Heaving in Coals by Moonlight — Turner & Constable Rivals & Originals (exhibited 1835)
- Lake Avernus: Aeneas and the Cumaean Sibyl — Turner & Constable Rivals & Originals (1814)
- Landscape with Walton Bridges — Turner & Constable Rivals & Originals (c.1830–40)
- London from Greenwich Park — JMW Turner: Rise to Fame (Room 31) (exhibited 1809)
- Mercury Sent to Admonish Aeneas — Turner and his Critics (Room 32) (exhibited 1850)
- Palestrina - Composition — Turner and his Critics (Room 32) (1828, exhibited 1830)
- Peace - Burial at Sea — Turner and his Critics (Room 32) (exhibited 1842)
- Ploughing Up Turnips, near Slough (‘Windsor’) — JMW Turner: Rise to Fame (Room 31) (exhibited 1809)
- Queen Mab’s Cave — Turner and his Critics (Room 32) (exhibited 1846)
- Regulus — Travels in Europe (Room 37) (1828, reworked 1837)
- Rome, from the Vatican. Raffaelle, Accompanied by La Fornarina, Preparing his Pictures for the Decoration of the Loggia — Travels in Europe (Room 37) (exhibited 1820)
- Rough Sea — Toil and Terror at Sea (Room 35) (c.1840–5)
- Seascape with Distant Coast — Experiments on Canvas (Room 34) (c.1840)
- Seascape with Storm Coming On — Toil and Terror at Sea (Room 35) (c.1840)
- Self-Portrait — JMW Turner: Rise to Fame (Room 31) (c.1799)
- Shipping at the Mouth of the Thames — Sea Power (Room 36) (c.1806–7)
- Snow Storm - Steam-Boat off a Harbour’s Mouth — Toil and Terror at Sea (Room 35) (exhibited 1842)
- Snow Storm: Hannibal and his Army Crossing the Alps — JMW Turner: Rise to Fame (Room 31) (exhibited 1812)
- Spithead: Two Captured Danish Ships Entering Portsmouth Harbour — Sea Power (Room 36) (1807–9)
- Staffa, Fingal’s Cave — Turner & Constable Rivals & Originals (exhibited 1832)
- Sunrise with Sea Monsters — Experiments on Canvas (Room 34) (c.1845)
- Sunrise, a Castle on a Bay: ‘Solitude’ — Experiments on Canvas (Room 34) (c.1840–5)
- Sunrise, with a Boat between Headlands — Experiments on Canvas (Room 34) (c.1840–5)
- The Arrival of Louis-Philippe at the Royal Clarence Yard, Gosport, 8 October 1844 — Experiments on Canvas (Room 34) (c.1844–5)
- The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory — Sea Power (Room 36) (1806–8)
- The Burning of the Houses of Lords and Commons, October 16, 1834 — Turner & Constable Rivals & Originals (exhibited 1835)
- The Decline of the Carthaginian Empire ... — Travels in Europe (Room 37) (exhibited 1817)
- The Deluge — JMW Turner: Rise to Fame (Room 31) (?exhibited 1805)
- The Destruction of Sodom — JMW Turner: Rise to Fame (Room 31) (? exhibited 1805)
- The Dogana, San Giorgio, Citella, from the Steps of the Europa — Travels in Europe (Room 37) (exhibited 1842)
- The Field of Waterloo — Revolution and Reform 1776-1833 (Room 6) (exhibited 1818)
- The Fifth Plague of Egypt — Turner & Constable Rivals & Originals (exhibited 1800)
- The Garreteer’s Petition — The Exhibition Age 1760-1815 (Room 4) (exhibited 1809)
- The Opening of the Wallhalla, 1842 — Travels in Europe (Room 37) (exhibited 1843)
- The Ponte Delle Torri, Spoleto — Experiments on Canvas (Room 34) (c.1840–5)
- The Rising Squall, Hot Wells, from St Vincent’s Rock, Bristol — Turner & Constable Rivals & Originals (exhibited 1793)
- The Shipwreck — Sea Power (Room 36) (exhibited 1805)
- Venice, the Bridge of Sighs — Travels in Europe (Room 37) (exhibited 1840)
- View of Orvieto, Painted in Rome — Turner and his Critics (Room 32) (1828, reworked 1830)
- Vision of Medea — Turner and his Critics (Room 32) (1828)
- War. The Exile and the Rock Limpet — Turner and his Critics (Room 32) (exhibited 1842)
- Whalers — Toil and Terror at Sea (Room 35) (exhibited 1845)
- Whalers (Boiling Blubber) Entangled in Flaw Ice, Endeavouring to Extricate Themselves — Toil and Terror at Sea (Room 35) (exhibited 1846)
- Yacht Approaching the Coast — Toil and Terror at Sea (Room 35) (c.1840–5)
Salas y estado de exposición verificados en la base de colecciones de cada museo.
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