Aesacus and Hesperie, Vide Ovid Metamorphosis, Book XI, part XIII, plate 66 from "Liber Studiorum"

Aesacus and Hesperie, Vide Ovid Metamorphosis, Book XI, part XIII, plate 66 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. In a few instances he also developed the tone, here adding mezzotint to evoke a wooded landscape centered on the water nymph Hesperia, watched drying herself on a river bank by Aesacus, a prince of Troy. The Ovidian theme ties the imag to poetry, and Turner weaves arborial layers, slanted rays of sun, and dappled shadows into a kind of magic naturalism. The letter "H" in the upper margin indicates the artist's category of Historical landscape.

Drawings and Prints

An exhibit at Metropolitan Museum of Art

Aesacus and Hesperie, Vide Ovid Metamorphosis, Book XI, part XIII, plate 66 from "Liber Studiorum"Aesacus and Hesperie, Vide Ovid Metamorphosis, Book XI, part XIII, plate 66 from "Liber Studiorum"Aesacus and Hesperie, Vide Ovid Metamorphosis, Book XI, part XIII, plate 66 from "Liber Studiorum"Aesacus and Hesperie, Vide Ovid Metamorphosis, Book XI, part XIII, plate 66 from "Liber Studiorum"Aesacus and Hesperie, Vide Ovid Metamorphosis, Book XI, part XIII, plate 66 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.