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The Fighting Temeraire, J. M. W. Turner, 1839. Oil on canvas, 90.7 × 121.6 cm. The National Gallery, London. Public domain.

The image on this page is a studio placeholder, not the painting. The open-access file from The National Gallery, London replaces it when the gallery's image pipeline runs — we would rather show you a card that says so than a reproduction we have not verified.

Romanticism

The Fighting Temeraire

J. M. W. Turner · 1839

Medium
Oil on canvas
Dimensions
90.7 × 121.6 cm
Held by
The National Gallery, London
Licence
Public domain
Movement
Romanticism

What to look at

A ship that fought at Trafalgar is being towed up the Thames to be broken up for scrap, and Turner has arranged the facts to make the point land harder than the facts would on their own. The Temeraire is painted pale, nearly weightless, ghost-coloured, with her masts still standing — in reality she had been stripped of masts and rigging before the tow. The tug in front of her is small, black, squat and belching, and Turner puts its fire-lit funnel almost exactly where your eye enters the picture. The sun setting on the right is doing double duty as a sunset and as an obituary. He knew what he had: he refused to sell it for the rest of his life and called it his darling. Technically, note how thin the paint is in the sky and how thickly it is loaded on the sun and the water beneath it.

Detail of The Fighting Temeraire by J. M. W. Turner
Look closer. The tug is the only solidly painted object in the picture. Everything else is dissolving.

The painter

J. M. W. Turner

Read the full life

Turner was a barber's son from Covent Garden who entered the Royal Academy schools at fourteen, exhibited there at fifteen, and became a full Academician at twenty-six — about as fast as the English art establishment has ever moved. For the first half of his career he competed openly with the dead: specifically with Claude Lorrain, whose golden harbour scenes he set out to equal and then to surpass, and he left paintings to the nation on the condition that they hang beside Claudes so the comparison could be made. The second half is the one that matters to later painting.

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