Provenance

Henry McConnel

British, 1801 - 1871

Explore Selected Works

We look across a glittering waterway lined with long, low boats and sailboats at an ivory-white church in the distance to our right in this horizontal landscape painting. The horizon line comes about a third of the way up the composition, and wispy white clouds sweep across the brilliant azure-blue sky above. A row of buildings comes into view lining the canal to our right, with a terracotta-orange building followed by a cream-white building beyond, both angled toward the church. The church has a high dome rising over the temple-like front, which has columns supporting a triangular pediment. A tall bell tower rises to the left of the church. The low boats, gondolas, to our left are packed with people while a few gondolas floating in the center of the canal appear occupied only by their gondoliers who stand holding their poles. Painted in tones of ivory and peach, the sails of boats behind the gondolas to our left billow in the breeze while the sails of vessels docked to our right are furled. The structures, boats, and people cast shimmering reflections on the gently rippling surface of the water in the canal. Rows of boats and buildings lining the canal extend into the deep, hazy distance to our left.
Joseph Mallord William Turner, Venice: The Dogana and San Giorgio Maggiore, 1834, oil on canvas, Widener Collection, 1942.9.85

Venice: The Dogana and San Giorgio Maggiore

Joseph Mallord William Turner · 1834 · oil on canvas ·  Accession ID  1942.9.85

We hover over a flax-yellow body of water lined with ships to our left and right, which are silhouetted against a moonlit, cloud-veiled sky in this horizontal landscape painting. The horizon comes about a third of the way up the composition. The moon hangs to our left of center in the sky, its light reflecting on the clouds in a bright, hourglass shape to create a tunnel-like effect. The sea below turns from a gold color close to us to pale blue along the horizon. To our left, one ship with gray sails is cut off by the edge of the canvas and another, also with gray sails, is situated farther from us. A small, dark rowboat with two passengers moves between them. Light from the windows in buildings along the distant horizon to our left reflect in the water, and another building, a factory, spouts white flame from its chimney. More dark ships line the waterway to our right, their spiky masts black against the sky. Three flames, one orange between two pale yellow fires, flare in the darkness in front of the ship closest to us. The forms of men shoveling coal, crates, and barges are dark silhouettes against the firelight and smoke. More rowboats float among the boats in the distance. Near the lower right corner of the canvas, a broad, flat fragment of wood floats close to us. The hot orange and black on the right side of the painting contrasts with the silvery gray, light blue, and white that fills much of the rest of the composition. The painting was created with thick, blended brushstrokes throughout, giving the scene a hazy look. The texture of some of the brushstrokes is especially noticeable, as where the moon casts white light onto the water and in the clouds. The artist signed a buoy floating to our left with his initials, “JMWT.”
Joseph Mallord William Turner, Keelmen Heaving in Coals by Moonlight, 1835, oil on canvas, Widener Collection, 1942.9.86

Keelmen Heaving in Coals by Moonlight

Joseph Mallord William Turner · 1835 · oil on canvas ·  Accession ID  1942.9.86

Bibliography

1887

  • "The Winter Exhibition at Burlington House," [Review]. Times. London, 11 January 1887.

1906

  • A Century of Fine Cotton Spinning, McConnel & Co. 1790-1906, Manchester, 1906.

1977

  • Butlin, Martin, and Evelyn Joll. The Paintings of J. M. W. Turner. 2 vols. 2nd rev. ed. New Haven and London, [1977] 1984: I: 232.