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great national significance and affirms
Britain as a great maritime power. In the pursuit of these ideals and significance, Turner took several moments from the battle, across several days, and merged them into one moment in one scene. This then represents Turner's desire to take the battle and use it to create something of general, philosophical, and national significance. This aspect, along with the pyramidal composition reference triumph and sacrifice reaffirm this work's place as a history painting, despite it not depicting one scene from ancient history, religion, or mythology.
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victory for the
British. Their dominance effectively established them as the great naval power and ended Napoleon’s plans to conquer England. The significance of this battle for British history cannot be overstated. Afterwards, many citizens called for a government commissioned work of art depicting the battle. This reflected the role of the history painting and the artist by demonstrating the virtue of the hero, Lord Nelson, to the entire nation. The importance of Nelson and his tactics are referenced in
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and closer to his original work and personal style further indicating his personal connection with
Trafalgar. While the subject of the piece is evident, there are elements of ambiguity suggesting the sublime, the dissolution of space via strokes of pure paint, and the symmetry between human and natural forces.
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moves away from this traditional style and more closely resembles his final product with a more organized chaos via the build-up of clouds and people in the foreground. Despite this work being a commission, Turner chooses to depict the final work in a style that moves away from conventional practices
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as a history painting depicting a contemporary event and as a patchwork scene composed of different moments portrayed as being simultaneous. Turner knows the importance of this genre and employs it to further the significance of the contemporary scene. This action firmly cements the work as being of
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The
British were attempting to establish themselves as a major maritime power; with their victory in this battle they were successful and with this painting that becomes evident. Turner had a great deal of personal interest and investment in this work and with the history of the Battle of Trafalgar
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and the other by his subordinate
Collingwood, to attack the Franco-Spanish fleet in columns perpendicular to their line. At the height of the battle Nelson was shot from a nearby French ship and mortally wounded. Despite this upsetting death, the victory at Trafalgar represented a crucial naval
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into a scene representing an overall account of the whole battle. This earlier depiction is closer to Turner’s style in that it leans away from traditional maritime paintings and more toward the ambiguity and sublime that Turner would later be known for. In preparation for
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in general. Turner made several sketches immediately after the battle, careful studies of the ships and their rigging, and close details of the uniforms. The most notable of these early works was
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s dominating position in the scene, the execution as a history painting, and Turner's care in rendering all elements of the scene.
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The realism of the scene is visible in the flags of the masts, which deliver part of the famous message
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Czisnik, Marianne (October 2004). "Admiral Nelson's
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28:. Oil on canvas (1822–1824), 2615 x 3685 mm. National Maritime Museum, Greenwich, London
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Empire to Nation: Art, History, and the
Visualization of Maritime Britain 1768-1829
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The Battle of
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is traditionally defined as a large-scale work depicting a scene from the
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shortly after its original installation. The painting now hangs in the
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aligning its composition with the traditional maritime paintings. The
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The
Burning of the Houses of Lords and Commons, 16th October, 1834
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Buttermere Lake, with Part of Cromackwater, Cumberland, a Shower
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View in Wales: Mountain Scene with Village and Castle – Evening
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England: Richmond Hill, on the Prince Regent's Birthday
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Turner created two preparatory oil sketches, with the
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Two Captured Danish Ships Entering Portsmouth Harbour
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665:Morning amongst the Coniston Fells, Cumberland
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34:The Battle of Trafalgar, 21 October 1805
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67:measures 2,615 millimetres (8 ft
37:is an 1822 painting by British artist
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218:List of paintings by J. M. W. Turner
1300:Donations from the Royal Collection
794:Landscape with Lake and Fallen Tree
551:Landscape with Windmill and Rainbow
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119:This work depicts a scene from the
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872:Snow Storm: Hannibal and his Army
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55:Philippe-Jacques de Loutherbourg
536:Interior of a Romanesque Church
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958:Funeral of Sir Thomas Lawrence
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305:Turner, Joseph Mallord William
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950:Ulysses Deriding Polyphemus
589:Interior of a Gothic Church
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143:Role as a history painting
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1119:Sunrise with Sea Monsters
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856:The Fifth Plague of Egypt
604:Limekiln at Coalbrookdale
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41:. It was commissioned by
874:Crossing the Alps
749:Welsh Mountain Landscape
673:Shipping by a Breakwater
482:National Maritime Museum
101:National Maritime Museum
926:The Battle of Trafalgar
438:Quilley, Geoff (2011).
165:The Battle of Trafalgar
1310:Napoleonic Wars in art
1127:Norham Castle, Sunrise
1031:to Be Broken up
918:Rome, from the Vatican
817:View on Clapham Common
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1083:Peace – Burial at Sea
902:The Field of Waterloo
454:Yale University Press
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1305:Battle of Trafalgar
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1236:Turner Contemporary
1226:Thomas Price Turner
892:Dort or Dordrecht:
864:High Street, Oxford
256:Tate Publishing Ltd
121:Battle of Trafalgar
566:Diana and Callisto
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97:Greenwich Hospital
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1222:(2014 film)
1214:(2011 play)
1211:The Painter
1179:(1807–1819)
1150: 1845
1135: 1845
1047:Slave Ship
1022: 1835
825: 1800
809:Calais Pier
802: 1800
787: 1800
772: 1800
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727: 1799
714:(1798–1799)
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612: 1797
597: 1797
574: 1796
559: 1795
544: 1795
450:Connecticut
417:: 549–559.
1269:Categories
1219:Mr. Turner
313:. Surrey:
254:. London:
224:References
103:, also in
1160:(unknown)
527:Paintings
446:New Haven
333:802351766
197:Trafalgar
192:Trafalgar
105:Greenwich
1254:Category
484:website.
431:24427628
307:(2012).
212:See also
1203:Related
1187:Museums
1142:Whalers
480:at the
406:History
248:(ed.).
181:Studies
134:Victory
129:Victory
115:History
90:⁄
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1168:Prints
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827:–1805)
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759:–1800)
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109:London
427:JSTOR
415:Wiley
413:(4).
161:Bible
137:'
458:ISBN
329:OCLC
319:ISBN
260:ISBN
419:doi
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