Turner entre à la Royal Academy Schools à 14 ans et est élu académicien à part entière à 26 ans — une ascension inhabituellement rapide. Il voyage sans cesse à travers la Grande-Bretagne puis l’Europe, remplissant des carnets de croquis qui alimentent un flux constant d’huiles exposées, et se fait connaître pour pousser la météo et la lumière jusqu’à la limite du lisible, des décennies avant que cela ne devienne à la mode.
Sa longue rivalité, à moitié amicale, avec John Constable se joue publiquement à l’exposition annuelle de la Royal Academy : en 1832, voyant sa propre marine discrète accrochée à côté de l’éclatant Ouverture du pont de Waterloo de Constable, Turner aurait ajouté une simple bouée rouge à sa toile au dernier moment, juste assez pour ramener les regards vers lui. Il ne s’est jamais marié, a légué l’essentiel de son œuvre achevée et inachevée à la nation, et meurt à Londres en 1851.
Tableaux de Turner exposés, musée par musée
L’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)
L’Ashmolean Museum, Oxford
- View of the High Street, Oxford — Gallery 44 (1809 - 1810)
Le 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)
Le 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))
Le Metropolitan Museum of Art, New York
- Venice, from the Porch of Madonna della Salute — 808 (ca. 1835)
- Whalers — 808 (ca. 1845)
National Galleries of Scotland, Édimbourg
- 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)
Salles et statut d’exposition vérifiés sur la base de collections de chaque musée.
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