Another summer, another magnificent art exhibition at the Grimaldi Forum in Monaco. This year’s show is a journey back in time to Turner’s romantic England of the 18th and 19th centuries

Few English painters from days gone by have the recognition of Joseph Mallord William Turner, better known as JMW Turner (1775-1851.) Mention his name, and one instantly conjures images of England’s bucolic countryside with rosy-cheeked shepherdesses or dramatic seascapes under leaden skies. His unparalleled mastery of capturing light and atmosphere always earns special mention.

The Grimaldi Forum, in collaboration with the Tate (Britain) Gallery, has assembled an impressive ensemble of 80 first-rate canvases and works on paper, currently exhibited in an unprecedented scenography covering over 2,000 m² until September 1st. This exhibition powerfully documents how Turner used elements like mountains, sky, and storms to grandiose effect in his works. He not only captured the expressive power of nature’s forces but also reinvented the landscape genre. His works became a benchmark for the notion of the sublime, shaping landscape aesthetics in 19th-century England and far beyond. The exhibit reveals Turner’s sensitive and poetic conception of landscape, illustrating his innovative style and abstract qualities that remain unrivaled in the history of painting.

Grenoble Seen from the River Drac with Mont Blanc in the Distance (see full credit below)

‘Hurrah! for the Whaler Erebus! Another Fish!’ (see full credit below)

Turner’s decisive influence and legacy are brought into dialogue with thirty works by major modern and contemporary artists, including John Akomfrah, Edward Burtynsky, Peter Doig, Olafur Eliasson, Howard Hodgkin, Roni Horn, Richard Long, Lisa Milroy, Cornelia Parker, Katie Paterson, Laure Prouvost, Mark Rothko, Wolfgang Tillmans, James Turrell, and Jessica Warboys.

Turner’s prodigious talent was evident early in life: by age 14, he was accepted into the Royal Academy of Arts, and by 15, he was exhibiting his first works there. He became an associate of the Royal Academy at 24, the youngest age at which he was eligible. Three years later, in 1802, Turner became the youngest full Academician in the institution’s history. His work was widely recognised during his lifetime, affording him a wealthy lifestyle.

The Blue Rigi, Sunrise (see full credit below)

His style was novel and often controversial – some conservative critics disdained his work as too modern. Although deeply influenced by 16th and 17th-century landscapists and history painters, Turner was a trailblazer, and seen as a forerunner to Impressionism and Modernism.

Turner’s dedication to topography marked his career, with early works as detailed watercolors of English landmarks. An avid traveler and observer, he filled sketchbook after sketchbook from tours across Europe over five decades. His travel-inspired watercolors elevated landscape painting to historical narrative. Turner also incorporated poetry, quoting poets like Milton and Byron, to enrich his art’s narrative depth.

One intriguing anecdote, recounted by John Ruskin, Turner’s great advocate and biographer, revolves around the painter’s adventurous spirit and dedication to capturing the sublime power of nature. Known for his bold and sometimes risky methods to experience and observe the natural world firsthand, Turner is said to have tied himself to the mast of a ship during a fierce storm to witness its raw fury up close. This harrowing experience is believed to have inspired his painting “Snow Storm: Steam-Boat off a Harbour’s Mouth” (1842), which captures the chaos and power of a maritime storm with remarkable intensity and detail.

Turner was incredibly prolific throughout his life. Upon his death from cholera in 1851 at age 76, he bequeathed 300 oil paintings and more than 20,000 works on paper to London’s Tate Gallery, who kindly loaned a representative selection to the Grimaldi Forum for this exhibition, officially titled “Le Sublime Héritage, en dialogue avec des artistes contemporains”. The attentive visitor will discover that far beyond a retrospective, this show is a testament to Turner’s timeless ability to capture the essence of nature and his enduring impact on art that transcends time.

Find all practical information around the exhibition on the Grimaldi Forum website.

All images courtesy Grimaldi Forum; lead image DCOM GFM

Photo Credits

Joseph Mallord William Turner
Grenoble Seen from the River Drac with Mont Blanc in the Distance, c.1802
Oil paint on canvas
Tate
Photo: © Tate

Joseph Mallord William Turner
Hurrah! For the Whaler Erebus! Another Fish!, exhibited 1846
Oil paint on canvas
Tate
Photo: © Tate

Joseph Mallord William Turner
The Blue Rigi, Sunrise 1842
Watercolour on paper
Tate
Photo: © Tate