Petworth House marks 250th anniversary of Turner’s birth

It shows how he was inspired by Petworth’s Capability Brown landscape and historic art collection. It also delves into Turner’s experiments with colour, light and atmosphere as well as his relationship with Petworth’s owner, the 3rd Earl of Egremont.

Turner’s Vision at Petworth exhibition runs until November 16 at Petworth House and Park.

Spokeswoman Jo Crosse said: “The relationship between Britain’s most renowned artist and the landscape which inspired him is being explored in a new exhibition by the National Trust. During the 250th anniversary of his birth, many of JMW Turner’s paintings and sketches of the landscape at Petworth House and Park are featuring in an exhibition this summer – adding to what was already the largest display of Turner’s work outside London.

“With additional rarely seen pieces, the exhibition includes oil paintings and works on paper, on loan from Tate and several private lenders. They give a fascinating insight into Turner’s artistic approach, his experiments with colour, light and atmosphere – as well as his relationship with Petworth and Petworth’s owner, George O’Brien Wyndham, 3rd Earl of Egremont.

“Visitors can explore the Lancelot Capability Brown designed parkland at Petworth to see the landscape which had such an impact on Turner. They can also see an historic art collection which Turner was, extraordinarily for the time, given freedom to study by the 3rd Earl. He gave Turner permission to explore Petworth’s collection including paintings by Anthony van Dyck, Claude Lorrain and Thomas Gainsborough. This unusual opportunity to study the work of great European Old Master paintings not only demonstrated the 3rd Earl’s immense support of contemporary artists, but it also inspired Turner in works that he produced.

“Turner stayed at Petworth on many occasions and the 3rd Earl acquired 20 paintings from him – all of which can still be seen in the house at Petworth, in addition to those in the exhibition.

“The first commission was Dewy Morning in 1809 which follows in the tradition of country house portraiture. It is contrasted with the watercolours which are Turner's own personal experiments. With very few exceptions, they were never intended to be shared or seen publicly but illustrate how his thinking was influenced by his time at Petworth.

“The 3rd Earl was a discerning art lover who opened Petworth and its art collections to several visiting artists. Turner was the most well-known, becoming a frequent visitor from 1827 until the Earl’s death in 1837.

“The Turners he acquired for Petworth House make up the largest UK collection of his work outside London. This includes the four landscape paintings for Petworth’s Carved Room, one of only two site-specific commissions Turner ever received. Three associated full-scale sketches of the Carved Room appear in the exhibition, which show the process that Turner and his patron worked through to determine the final arrangement of the room.

“Also in the exhibition are three parts of the Liber Studiorum, Turner’s practical manual and visual treatise on landscape painting, begun in 1807. Unusually they are still in their original blue paper wrappers and bear Turner’s handwritten initials.

Emily Knight, property curator at Petworth House: "Turner produced an astonishing body of work at Petworth. From the numerous small sketches to the finished oil paintings, the landscape became an enduring source of inspiration. The exhibition will add to people’s understanding of Petworth and show how it played a significant role in his life and career.

“Encouraged by his enlightened host, Turner was able to observe and record the beauty of the great Sussex estate, exploring his own artistic interests in light, atmosphere and colour. Reclusive and private by nature, he was able to paint for prolonged periods of time, then enjoy downtime to fish for pike in the Upper Pond.

“Visitors to the exhibition can step into the landscapes painted by Turner at Petworth and explore for themselves what gave him inspiration. The views of the 700-acre Capability Brown designed parkland have remained unchanged since they were captured by the artist.”