Water Cress Gatherers, Rails Head Ferry Bridge, Twickenham, part XIII, plate 62 from "Liber Studiorum"

Water Cress Gatherers, Rails Head Ferry Bridge, Twickenham, part XIII, plate 62 from "Liber Studiorum"

Joseph Mallord William Turner

An item at Metropolitan Museum of Art

Turner distilled his ideas about landscape In "Liber Studiorum" (Latin for Book of Studies), a series of seventy prints plus a frontispiece published between 1807 and 1819. To establish the compositions, he made brown watercolor drawings, then etched outlines onto copper plates. Professional engravers usually developed the tone under Turner's direction, and Lupton here added mezzotint to describe a a rural scene where awoman picks cress in a stream near two children. At the end of bridge, above, figures with baskets are bathed in a burst of bright sunlight, as a horse-drawn gig moves away down a road through the rain. The changeable weather and shifting light, characterisitic of an English summer, are Turner's ture subject, and the letter "P" in the plate indicates his category of Pastoral landscape.

Drawings and Prints

An exhibit at Metropolitan Museum of Art

Water Cress Gatherers, Rails Head Ferry Bridge, Twickenham, part XIII, plate 62 from "Liber Studiorum"Water Cress Gatherers, Rails Head Ferry Bridge, Twickenham, part XIII, plate 62 from "Liber Studiorum"Water Cress Gatherers, Rails Head Ferry Bridge, Twickenham, part XIII, plate 62 from "Liber Studiorum"Water Cress Gatherers, Rails Head Ferry Bridge, Twickenham, part XIII, plate 62 from "Liber Studiorum"Water Cress Gatherers, Rails Head Ferry Bridge, Twickenham, part XIII, plate 62 from "Liber Studiorum"

The Department’s vast collection of works on paper comprises approximately 21,000 drawings, 1.2 million prints, and 12,000 illustrated books created in Europe and the Americas from about 1400 to the present day. Since its foundation in 1916, the Department has been committed to collecting a wide range of works on paper, which includes both pieces that are incredibly rare and lauded for their aesthetic appeal, as well as material that is more popular, functional, and ephemeral. The broad scope of the department’s collecting encourages questions of connoisseurship as well as those pertaining to function and context, and demonstrates the vital role that prints, drawings, and illustrated books have played throughout history.