This image is one of over 108,000 from the AMICA Library (formerly The Art Museum Image Consortium Library- The AMICO Library), a growing online collection of high-quality, digital art images from over 20 museums around the world.
www.davidrumsey.com/amica offers subscriptions to this collection, the finest art image database available on the internet. EVERY image has full curatorial text and can be studied in depth by zooming into the smallest details from within the Image Workspace.
- Cultures and time periods represented
range from contemporary art, to ancient Greek, Roman, and Egyptian works.
- Types of works include paintings, drawings,
watercolors, sculptures, costumes, jewelry, furniture, prints, photographs,
textiles, decorative art, books and manuscripts.
Gain access to this incredible resource through either a
monthly or a yearly subscription and search the entire collection from
your desktop, compare multiple images side by side and zoom into the minute
details of the images. Visit www.davidrumsey.com/amica
for more information on the collection, click on the link below the
revolving thumbnail to the right, or email us at email@example.com
Creator Name: Turner, Joseph Mallord William
Creator Nationality: European; British
Creator Dates/Places: 1775-1851
Creator Name-CRT: Joseph Mallord William Turner
Title: Cologne: The Arrival of a Packet-Boat: Evening
View: Full View
Creation Start Date: 1826
Creation End Date: 1826
Creation Date: 1826
Object Type: Drawings and Watercolors
Materials and Techniques: oil, and possibly watercolor, on canvas (lined)
Dimensions: 66 3/8 x 88 1/4 in. (168.6 x 224.1 cm.)
AMICA Contributor: The Frick Collection
Owner Location: New York, New York, USA
ID Number: 14.1.119
Credit Line: Purchased
Context: The composition is based on sketches Turner made while touring the Rhine in 1817 and again in 1825. Among the discernible structures are, from the foreground back: the Kostgassepforte gate before the Frankenturm; the sixteenth-century Bollwerk and the archway over the entrance to the Zollstrasse; the Stapelhaus; and the church of Gross St. Martin. Turner achieved the high-keyed color and transparency of watercolor painting in this monumental canvas, and it is possible that he did combine the media of oiland watercolor, as suggested in a letter in which he warned his father: "you must not by any means wet it, for all the colour will come off." A questionable story associated with the painting was recorded by Ruskin, who described how Turner quixotically covered the golden sky with a wash of lampblack at the start of the Royal Academy exhibition of 1826 in order not to detract from two portraits by Lawrence that hung to either side of it. A contemporary reference to the painting's "glitter and gaud" castsdoubt on this anecdote.
Related Document Description: New York, The Frick Collection. Art in the Frick Collection: Paintings, Sculpture, Decorative Arts [cat.]. Comp. C. Ryskamp, et al., 1996, p.99 (reproduced in color). New York, The Frick Collection. An Illustrated Catalogue. Vol.1, Paintings. [cat.]. 1968, pp.126-130, p.127 (reproduced).
AMICA ID: TFC_.Turner.14-1-119
AMICA Library Year: 1999
Media Metadata Rights:
Copyright The Frick Collection, New York, 1999
AMICA PUBLIC RIGHTS: a) Access to the materials is granted for personal and non-commercial use. b) A full educational license for non-commercial use is available from Cartography Associates at www.davidrumsey.com/amica/institution_subscribe.html c) Licensed users may continue their examination of additional materials provided by Cartography Associates, and d) commercial rights are available from the rights holder.
Copyright © 2007 Cartography Associates.
All rights reserved.