PropertyValue
?:P102_has_title
?:P104_is_subject_to
?:P12i_was_present_at
?:P138i_has_representation
is ?:P140_assigned_attribute_to of
?:P1_is_identified_by
?:P24i_changed_ownership_through
?:P2_has_type
?:P30i_custody_transferred_through
?:P39i_was_measured_by
?:P43_has_dimension
?:P46i_forms_part_of
?:P48_has_preferred_identifier
?:P50_has_current_keeper
?:P52_has_current_owner
?:P55_has_current_location
?:P62_depicts
?:P65_shows_visual_item
?:P67_refers_to
?:P70_is_documented_in
?:P70i_is_documented_in
?:PX_curatorial_comment
  • J.M.W. Turner had an affinity with the Scottish landscape, inspired by his deep admiration for the work of Sir Walter Scott. In 1831 he was commissioned by the Edinburgh publisher Robert Cadell to produce illustrations for an edition of Scott’s “Poetical Works”. After a memorable stay at Abbotsford with the ailing writer, who was to die the following year, Turner traveled north to Tobermory, where he boarded a steamer bound for the remote island of Staffa. Described by Scott as “one of the most extraordinary places I ever beheld,” Staffa was celebrated for its purplish-gray basaltic formations and enigmatic cavernous spaces; Fingal’s Cave, named for the Ossianic hero, was a particular object of pilgrimage for the Romantic tourist. According to Turner’s much later account, he was caught in a wild storm; upon his return to London, he commemorated his memorable voyage, choosing the moment when the sun “getting through the horizon, burst through the rain-cloud, angry” to create an extraordinarily compelling enactment of an encounter between man, symbolized by the steamship, and the unbridled forces of nature (Turner, “Correspondence”, p. 209). In the spring of 1832 Turner exhibited “Staffa” to critical acclaim; by coincidence, Felix Mendelssohn’s “Isles of Fingal” (later retitled “Die Hebriden”) was first performed in London on 14 May of that year, though to a considerably cooler reception. Staffa remained in Turner’s studio until 1845, when it was purchased by C. R. Leslie for five hundred pounds, on behalf of the New York collector Colonel James Lenox and thus became the first painting by Turner to be sent to America. Lenox was initially displeased with his purchase, complaining that it looked “indistinct,” but Turner recommended wiping the surface of the painting, suspecting that the varnish had bloomed during its transit across the Atlantic (Butlin and Joll, 1984, p. 199). This simple solution seems to have satisfied Lenox, who went on to acquire Turner’s “Fort Vimieux” (private collection), though he was unsuccessful in persuading the recalcitrant artist to sell him the “Fighting Temeraire” (National Gallery, London), despite offering the then astronomic sum of five thousand pounds.
?:PX_curatorial_comment
  • J.M.W. Turner had an affinity with the Scottish landscape, inspired by his deep admiration for the work of Sir Walter Scott. In 1831 he was commissioned by the Edinburgh publisher Robert Cadell to produce illustrations for an edition of Scott’s “Poetical Works”. After a memorable stay at Abbotsford with the ailing writer, who was to die the following year, Turner traveled north to Tobermory, where he boarded a steamer bound for the remote island of Staffa. Described by Scott as “one of the most extraordinary places I ever beheld,” Staffa was celebrated for its purplish-gray basaltic formations and enigmatic cavernous spaces; Fingal’s Cave, named for the Ossianic hero, was a particular object of pilgrimage for the Romantic tourist. According to Turner’s much later account, he was caught in a wild storm; upon his return to London, he commemorated his memorable voyage, choosing the moment when the sun “getting through the horizon, burst through the rain-cloud, angry” to create an extraordinarily compelling enactment of an encounter between man, symbolized by the steamship, and the unbridled forces of nature (Turner, “Correspondence”, p. 209). In the spring of 1832 Turner exhibited “Staffa” to critical acclaim; by coincidence, Felix Mendelssohn’s “Isles of Fingal” (later retitled “Die Hebriden”) was first performed in London on 14 May of that year, though to a considerably cooler reception. Staffa remained in Turner’s studio until 1845, when it was purchased by C. R. Leslie for five hundred pounds, on behalf of the New York collector Colonel James Lenox and thus became the first painting by Turner to be sent to America. Lenox was initially displeased with his purchase, complaining that it looked “indistinct,” but Turner recommended wiping the surface of the painting, suspecting that the varnish had bloomed during its transit across the Atlantic (Butlin and Joll, 1984, p. 199). This simple solution seems to have satisfied Lenox, who went on to acquire Turner’s “Fort Vimieux” (private collection), though he was unsuccessful in persuading the recalcitrant artist to sell him the “Fighting Temeraire” (National Gallery, London), despite offering the then astronomic sum of five thousand pounds.
?:PX_display_wrap
  • Bibliograpic reference :: Acquisitions : The First Decade 1977-1986, Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1986, pp. 6, 8, 19, no. 53, color plate 8, N590.2 A7 OVERSIZE (YCBA)
  • Bibliograpic reference :: Adele M. Holcomb, Indistinctness is my fault: A letter about Turner from C.R. Leslie to James Lenox, Burlington Magazine, v. 114, no. 833, August 1972, pp. 557-58, fg. 58, N1 B87 + (YCBA)
  • Bibliograpic reference :: Andrew Wilton, American sublime, landscape painting in the United States, 1820-1880, Tate Publishing, London, UK, 2002, pp. 246-47, No. 51, ND1351.5 W57 2002 (YCBA)
  • Bibliograpic reference :: Andrew Wilton, The life and work of J.M.W. Turner, Academy Editions, London, 1979, pp. 197, 280, No. P347, pl. 213, NJ18 T85 +W577 OVERSIZE (YCBA)
  • Bibliograpic reference :: Anthony Bailey, Standing in the sun, a life of J. M. W. Turner, Sinclair-Stevenson, London, 1997, p. 276, no. 347, NJ18 T85 B35 1997 (YCBA)
  • Bibliograpic reference :: Art, Lux, et Veritas, 2011, Personal Responses to Collections at Yale, Yale Center for British Art, New Haven, 2011, pp. 24-27, no. V, V2414:1 (YCBA)
  • Bibliograpic reference :: Art, Lux, et Veritas, 2011, Personal Responses to Collections at Yale, Yale University Art Gallery, New Haven, 2011, pp. 24-27, no. V, V2414:1 (YCBA)
  • Bibliograpic reference :: British Art Purchases in New York and a Forthcoming Charity Sale in London, Illustrated London News, vol. 229, no. 6125, October 27, 1956, p. 713, Available Online: Illus.London News Hist. Archive
  • Bibliograpic reference :: Catherine Hoover Voorsanger, Art and the empire city, New York, 1825-1861, Metropolitan Museum of Art, New York New Haven, 2000, no. 49, N6535 N5 A28X 2000 + (HAAS) , Additional copies available at LSF [N6535 N5 A28X 2000 (LC)+ Oversize and Yns72 2000 +A78 (for use in MSSA only)]
  • Bibliograpic reference :: Catherine M. Gordon, British paintings Hogarth to Turner, Frederick Warne, London, 1981, p. 67, ND466 G67 (YCBA)
  • Bibliograpic reference :: Charlotte Klonk, Prospects for the Nation, recent essays in British landscape, 1750-1880, Yale University Press, New Haven, CT, ca. 1997, pp. 219-20, fig. 82, ND1354.4 P76 1997 (YCBA)
  • Bibliograpic reference :: Charlotte Klonk, Science and the perception of nature, British landscape art in the late eighteenth and early nineteenth centuries, The Paul Mellon Centre for Studies in British Art, New Haven, 1996, p. 86, ND1354.4 K56 1996 (YCBA)
  • Bibliograpic reference :: Christiana Payne, Where the sea meets the land, artists on the coast in nineteenth century Britain, Sansom & Co., Bristol, 2007, pp. 122-23, fig, 63, ND1373 G7 P38 2007 (YCBA)
  • Bibliograpic reference :: Christine Riding, Turner & the sea, Thames & Hudson, London, 2013, pp. 4-5. 18, 211, 241, 242, 252-53, 261, 270, 272, no. 128, NJ18.T85 R52 2013 OVERSIZE (YCBA)
  • Bibliograpic reference :: Collected correspondence of J. M. W. Turner, With an early diary and a memoir by George Jones, Clarendon Press, Oxford, p. 209, NJ18 T85 A2 1980 (YCBA)
  • Bibliograpic reference :: David Blayney Brown, The art of J.M.W. Turner, Headline Book Publishing, London, 1990, pp. 138-39, NJ18 T85 B79 1990 + (YCBA)
  • Bibliograpic reference :: David Cordingly, Turner and the Sea, Turner Society News, no. 121, Spring 2014, p. 25, NJ18 T85 T86 OVERSIZE (YCBA)
  • Bibliograpic reference :: David H. Solkin, Art on the Line : the Royal Academy Exhibitions at Somerset House 1780-1836, , Yale University Press, New Haven, CT, 2001, p. 152, N5054 A78 2001B (YCBA)
  • Bibliograpic reference :: David Wallace-Hadrill, Turner in Argyll in 1831: Inveraray to Oban, Turner Studies, vol. 11:1, Summer 1991, pp. 20-29, NJ18 T85 T87 + (YCBA)
  • Bibliograpic reference :: Duncan Robinson, Acquisitions : The First Decade 1977 - 1986, , Burlington Magazine, vol. 128, October 1986, pp. 6,9, 19, no. 53, color pl. 8, N1 B87 128:3 OVERSIZE (YCBA)
  • Bibliograpic reference :: Duncan Robinson, Fairest isle, the appreciation of British scenery, 1750-1850 : Yale Center for British Art, April 12-June 25, 1989., Yale Center for British Art, [New Haven, 1989, p. 19, no. 152, ND1354.4 F35 (YCBA)
  • Bibliograpic reference :: Edward Lockspeiser, Music and painting, a study in comparative ideas from Turner to Schoenberg, Harper & Row, New York, 1973, ML3849 L62 1973 (HAAS) , Temporarily shelved at MUDD (1/4/2012); copyalso available at LSF - MK3849 L62
  • Bibliograpic reference :: Elizabeth Barlow Rogers, Romantic gardens, nature, art, and landscape design, The Morgan Library & Museum, New York Boston New York, 2010, p. 27, fig. 17, SB451 R638 2010 + (YCBA)
  • Bibliograpic reference :: Evelyn Joll, The Oxford companion to J.M.W. Turner, Oxford University Press, Oxford New York, 2001, p. 308, NJ18 O84 2001 (YCBA)
  • Bibliograpic reference :: Exhibition Catalogue. 1832. 64th., Exhibition of the Royal Academy of Arts, no. 64, Royal Academy of Arts, London, 1832, p. 26, no. 453, N5054 A53 v. 3 (YCBA)
  • Bibliograpic reference :: Exhibition of the Royal Academy, Library of the Fine Arts, vol. 3:17, June 1832, p. 508, Available online , Available online in British Periodicals Database.
  • Bibliograpic reference :: Franny Moyle, Turner : The Extraordinary Life and Momentous Times of J.M.W. Turner, New York, 2016, pp. 379-380, NJ18 T85 M79 2016 (YCBA)
  • Bibliograpic reference :: Frederic Ogee, Turner, les paysages absolus, Hazan, Paris, 2010, pp. 376-7, NJ18 T85 O34 2010 (YCBA)
  • Bibliograpic reference :: Gabriele Crepaldi, Turner, Prestel, Munich ; London, 2011, pp. 102-03, NJ18.T85 C75 2011 (YCBA)
  • Bibliograpic reference :: Ian McKeever, The Staffa Project, published to coincide with the exhibition of new works by Ian McKeever & Thomas Joshua Cooper organised by the Harris Museum & Art Gallery, Preston., Harris Museum and Art Gallery, Preston [Lancashire], 1987, p. 28, NX653 S7 S72 (YCBA)
  • Bibliograpic reference :: In honor of Paul Mellon, collector and benefactor, Essays, National Gallery of Art, Washington, DC & Hanover, NH, 1986, pp. 259-60, fig. 2, N7442.2 M455 1986 (YCBA)
  • Bibliograpic reference :: J. M. W. Turner, der Maler des Lichts., Gebr. Mann, Berlin, 1972, pp. 46-48, 113, No. 17, pl. 14, ND497.T8
  • Bibliograpic reference :: J. M. W. Turner, der Maler des Lichts., Gebr. Mann, Berlin, 1972, pp. 46-48, 113, No. 17, pl. 14, NJ18 T85 J15 (YCBA)
  • Bibliograpic reference :: J.M.W. Turner : the making of a master, Tate Publishing, London, 2013, pp. 60, 65, fig. 31, NJ18.T85 T3652 2013 (YCBA)
  • Bibliograpic reference :: J.M.W. Turner, Tate Publishing, London, 2007, pp.20, 144-45, 236,240, no. 102, NJ18 T85 A12 2007 + (YCBA)
  • Bibliograpic reference :: James R. Mellow, Transcendental Admirers: Turner's American Friends, ART News, vol. 79, December 1980, pp. 80-83, N1 A6 OVERSIZE (HAAS)
  • Bibliograpic reference :: Jennifer Davis Michael, Ocean Meets Ossian, Staffa as Romantic Symbol, Romanticism, vol. 13, no. 1, 2007, pp. 9-12, fig. 2, Available online (Orbis)
  • Bibliograpic reference :: Jeremy Lewison, Turner, Monet, Twombly, later paintings, Moderna Museet, Stockholm, 2011, pp. 58, 59, fig. 35, NJ18.T85 L53 2011 Oversize (YCBA)
  • Bibliograpic reference :: John Baskett, Paul Mellon's legacy, a passion for British art : masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, pp. 32, 33, 285, no. 91, fig. 6, pl. 91, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: John Baskett, Staffa, Fingal's Cave by J.M.W. Turner, http://www.youtube.com/watch?v=yOYcmGoc3AM, March 6, 2012, Available Online via YouTube , Video
  • Bibliograpic reference :: John Gage, The Distinctness of J.M.W. Turner, Journal of the Royal Society of Arts, vol. 123, 1975, pp. 448-57, U10 R81j (LSF)
  • Bibliograpic reference :: John Gage, Turner: Rain, steam, and speed., Viking Press, [New York, 1972, p. 43, NJ18 T85 A15 R35 1972 (YCBA)
  • Bibliograpic reference :: Judy Egerton, Turner, the Fighting Temeraire, National Gallery Publications, London, 1995, pp. 68-69, pl. 48, NJ18 T85 E34 1995 (YCBA)
  • Bibliograpic reference :: Julia Marciari-Alexander, This other Eden, paintings from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1998, pp. 148-49, no. 60, ND1314.3 Y36 1998 (YCBA)
  • Bibliograpic reference :: Katherine Manthorne, Creation & renewal, views of Cotopaxi by Frederic Edwin Church, National Museum of American Art, Washington, D.C., 1985, p. 27, NJ18 C47 M35 + (HAAS)
  • Bibliograpic reference :: Lindsay Duguid, The Recollected Works, TLS, the Times Literary Supplement, Issue no. 5458, November 8, 2007, p, 17, Available Online : TLS Archive , Also Available on microfilm : Film S748 (SML)
  • Bibliograpic reference :: Lindsay Rothwell, Paul Mellon's legacy, an American's passion for British art : Sackler Wing of Galleries, 20 October 2007 - 27 January 2008 : an introduction to the exhibition for teachers and students., Royal Academy of Arts, London, UK, 2007, pp. 9-10, no. 91, V 2038 (YCBA)
  • Bibliograpic reference :: Louis Hawes, Turner's Fighting Temeraire, Art Quarterly, Vol. 31, No. 1, Spring 1972, p. 33, fig. 10, V 2084 (YCBA)
  • Bibliograpic reference :: M. W. Turner : painting set free, The J. Paul Getty Museum, Los Angeles, 2014, p. 144, fig, 44, NJ18.T85 J1552 2014 OVERSIZE (YCBA)
  • Bibliograpic reference :: Malcolm Warner, Great British paintings from American collections, Holbein to Hockney, Yale Center for British Art, New Haven, CT, 2001, pp. 174-175, no. 51, ND464 W27 2001 (YCBA)
  • Bibliograpic reference :: Marco Goldin, Turner e gli impressionisti, la grande storia del paesaggio moderno in Europa, Linea d'ombra srl, Conegliano [Italy], 2006, p. 58, ND192.I4 T87 2006 + (YCBA)
  • Bibliograpic reference :: Martin Butlin, The paintings of J.M.W. Turner, The Paul Mellon Centre for Studies in British Art, New Haven, 1984, p.193 (v.1)..., no. 347, pl. 350, 565, NJ18 T85 B885 1984 OVERSIZE (YCBA)
  • Bibliograpic reference :: Megan Cullen, Fairest isle, the appreciation of British scenery, 1750-1850 : [exhibition] label copy by Megan Cullen ... [et al.] Yale Center for British Art, April 12-June 25, 1989., Yale Center for British Art, [New Haven, 1989, p. 67, no. 152, ND1354.4 F351 1989 (YCBA)
  • Bibliograpic reference :: Michael Lloyd, Turner, National Gallery of Australia, Canberra, 1996, pp. 46, 53-54, NJ18 T85 L57 1996 + (YCBA)
  • Bibliograpic reference :: Nancy Scott, America's First Public Turner, How Ruskin sold The Slave Ship to New York, British Art Journal, vol. 10, no. 3, Winter/Spring 2009-2010, pp. 69, 71, fig. 3, N6761 B74 + (YCBA)
  • Bibliograpic reference :: Paul Mellon's legacy, a passion for British art : April 18-July 29, 2007, Yale Center for British Art, New Haven, Conn., 2007, p. 14, V 1735 (YCBA)
  • Bibliograpic reference :: Paul Mellon's legacy, a passion for British art. [large print labels], Yale Center for British Art, New Haven, CT, 2007, v. 3, N5220 M552 +P381 2007, Mellon Shelf (YCBA)
  • Bibliograpic reference :: S. Warburton, Staffa, Lonely Isle for Inspiration, Turner Society News, 1979, pp. 2-5, NJ18 T85 T86 + (YCBA)
  • Bibliograpic reference :: Sam Smiles, J.M.W. Turner, Tate Publishing, London, 2000, pp. 55-56, no. 44, ND497 T85 S57 (YCBA)
  • Bibliograpic reference :: Sebastian Mitchell, Celtic Postmodernism : Ossian and Contemporary Art, , Translation and Literature, vol. 22, November 2013, pp. 406-408, 435, fig. 2, Available online (Orbis) , Edinburgh Unisersity Press
  • Bibliograpic reference :: Staffa, Fingal's Cave, off the West Coast of Scotland (Art Reproduction), Apollo, v. 64, December 1956, p. 165, J10 Ap43 + (SML)
  • Bibliograpic reference :: Staffa, Fingal's Cave, off the West Coast of Scotland (Art Reproduction), Connoisseur, v. 138, January 1957, p. 261, J10 C762 + (SML)
  • Bibliograpic reference :: Staffa, Fingal's Cave, off the West Coast of Scotland, Arts Magazine, vol. 31, October 1956, p. 9, N1 A415 OVERSIZE (HAAS)
  • Bibliograpic reference :: Tate Britain, Turner, 1775-1851., Tate Britain, London, 1974, p. 136, No. 490, NJ18 T85 T36+ (YCBA) , Also available on Microfiche, Fiche B236
  • Bibliograpic reference :: Thomas E. Norton, 100 years of collecting in America, the story of Sotheby Parke Bernet, Harry N. Abrams, New York, NY, 1984, p. 164, N8660 S681 N67 (YCBA)
  • Bibliograpic reference :: Thomas Gibson Fine Art Advisory Services, [ London ], 1978, pp. [ 6-7 ], Not available at Yale
  • Bibliograpic reference :: Timothy J. Barringer, Art & music in Britain, four encounters, 1730-1900 : [exhibition and label text], [New Haven, 2006, [p. 4], V 1699:1 (YCBA)
  • Bibliograpic reference :: Timothy J. Barringer, Art & music in Britain, four encounters, 1730-1900., Yale Center for British Art, New Haven, 2006, pp. 23, 26-27, 28, V 1699 (YCBA)
  • Bibliograpic reference :: William S. Rodner, J.M.W. Turner, romantic painter of the industrial revolution, University of California Press, Berkeley, Calif., 1997, p. 3, 61, 64..., pl. 4, ND497 T85 R63 1997 (YCBA)
  • Dimension height :: 90.8cm
  • Dimension width :: 121.3cm
  • Exhibition :: 2016 Installation YCBA - 401
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: Art and Music in Britain: Four Encounters, 1730-1900
  • Exhibition :: Art and the Empire City: New York, 1825-1861
  • Exhibition :: Fairest Isle - The Appreciation of British Scenery 1750-1850
  • Exhibition :: Great British Paintings from American Collections: Holbein to Hockney
  • Exhibition :: J. M. W. Turner - NGA
  • Exhibition :: Making and Meaning - Turner's fighting Temeraire
  • Exhibition :: The Critique of Reason : Romantic Art, 1760–1860
  • Exhibition :: This Other Eden : British Paintings from the Paul Mellon Collection at Yale
  • Exhibition :: Turner and the Sea
  • Exhibition :: Yale University Art Gallery 2015 - 2016
  • Located in :: 401
  • Located in :: Bay20
  • Located in :: New Haven
  • Located in :: On view
  • Located in :: Yale Center for British Art
  • Object type :: painting
  • Subject Concept :: birds
  • Subject Concept :: brushstrokes
  • Subject Concept :: caves
  • Subject Concept :: cliffs
  • Subject Concept :: island
  • Subject Concept :: landscape
  • Subject Concept :: marine art
  • Subject Concept :: meteorology
  • Subject Concept :: science
  • Subject Concept :: sea
  • Subject Concept :: seascape
  • Subject Concept :: ship
  • Subject Concept :: smoke
  • Subject Concept :: steam
  • Subject Concept :: steamboat
  • Subject Concept :: sunset
  • Subject Concept :: tourism
  • Subject Event :: storms
  • Subject Event :: waves (natural events)
  • Subject Place :: Hebrides
  • Subject Place :: Hebrides, Inner
  • Subject Place :: Scotland
  • Subject Place :: Staffa
  • Subject Place :: United Kingdom
?:PX_display_wrap
  • ...
?:PX_has_credit_line
  • Yale Center for British Art, Paul Mellon Collection
?:PX_has_main_representation
?:label
  • Staffa, Fingal's Cave
?:type