Better Together
Turner's vast output offers little information about his personal life, making a complete biography even less possible than a catalogue raisonn . Given these constraints, this first "Oxford Companion" devoted to the work of one artist attains an impressive breadth of vision and attention to detail. Three British Turner experts (a dealer, a curator, and an academic) assembled 53 scholars drawn from both sides of the Atlantic and from a variety of "Turneriana" viewpoints to produce close to 800 entries. Access is provided in alphabetical form, preceded by a classified contents list arranged under major themes such as "Patrons," "Literary Figures Important to Turner," and "Topography." Articles may appear under multiple headings in this listing. Each entry includes many cross references marked by an asterisk and, where appropriate, a list of references. The vast coverage includes such diverse topics as political issues of Turner's time, the topography of the landscapes depicted in his works, personal records of family and associates, and the current market for his art. Specific works of art are given detailed attention, including contemporary events and reviews. As in any compendium of this sort, the writing varies from elegant to pedantic and the topics from interesting to obscure, but the work provides a wealth of scholarly information and a substantive guide to the life and work of one of Britain's greatest painters. Daunting in scope and execution, this is recommended for all academic and art libraries. Paula Frosch, Metropolitan Museum of Art Lib., New York
Copyright 2001 Reed Business Information, Inc.
From Booklist
What could be more British than an Oxford Companion to J. M. W. Turner? This solid handbook is as densely packed with articles about Turner's art and life as a proper plum pudding is stuffed with raisins. Turner (1775-1851), considered the greatest British painter, was a prolific artist and a private person. Page after double-columned page discusses nearly every aspect of Turner's work, from media and techniques to working practices, exhibited and unexhibited watercolors and oils, subject matter, and more. Turner's life, too, is examined in articles on his family, travels, interests, friends, and so on. Many of the signed entries are actually essays rather than brief paragraphs, and that is what makes this book useful for more than just quick reference.
All the alphabetically arranged entries are connected by a thorough system of cross-references. There is also a classified contents list at the front of the book that sets out the topics addressed in a well-organized array. What would an art reference book be without illustrations? The center of this work serves up 32 full-color plates reproducing some of Turner's finest watercolors and oils. A sizable bibliography with entries representing work by more than a few of the editors and contributors is appended, as is a list of public collections with works by Turner (with galleries and museums cross-referenced to the A-Z entries).
There is one other noteworthy feature: a chronology in which events in Turner's life; developments in painting, architecture, music and literature; and other events in Britain and abroad are listed side by side. A quick look at the chronology shows that Turner's career flourished in the same time period as the Romantic movement that engendered Wordsworth, Byron, and Blake as well as revolution on both sides of the Atlantic. The singular subject of this book makes it most appropriate for fine arts and large reference collections; however, any collection serving anglophiles and art lovers should also considering adding it. RBB
Copyright © American Library Association. All rights reserved
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