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354:, her masts and rigging were removed before her sale and journey to the breaker's yard. All of her cannon, anchors and assorted hardware had been removed and salvaged for the navy to use as spare parts. She was towed by two tugboats, not just one, and in the other direction (the sun sets in the west, while the Thames estuary is at the river's eastern end). One of the tugboats, that depicted in the painting, was
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296:, a sliver of Moon casts a beam across the river, symbolising the commencement of the new, industrial era. The demise of heroic strength is the main subject of the painting. It has been suggested that the ship stands for the artist himself, with an accomplished and glorious past but now contemplating his mortality. Turner called the work his "darling".
386:"in the form of mostly facetious letters" supposedly by "Michael Angelo Titmarsh Esq." abandoned his usual flippant tone when discussing "as grand a picture as ever figured on the walls of any academy, or came from the easel of any painter". Turner displayed the painting in 1839 accompanied by an altered excerpt from
446:, who had often engraved Turners, was published in 1845 and was the first of many reproductions in various techniques. In about 1848 Turner refused an offer to buy the painting reputed to have been £5,000, followed by a "blank cheque", having determined to leave it to the nation, and already being very well-off.
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It was evidently usually among the works on display in the studio, and is mentioned by several visitors. He intended to leave his paintings to the nation but the terms of his will were unclear and after his death in 1851 his will was contested by relatives, and several years of litigation were only
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The composition of this painting is unusual in that the most significant object, the old warship, is positioned well to the left of the painting, where it rises in stately splendour and almost ghostlike colours against a triangle of blue sky and rising mist that throws it into relief. The beauty of
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Turner kept the painting in his studio, which also functioned as a showroom for buyers, until his death. In 1844 he loaned it as part of his deal for reproductions to the print publisher J. Hogarth, who exhibited it at his premises, but about a year later wrote a draft note replying to another
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Hawes, noting that: "Also, the locale of the painting may possibly be "Lime House Reach," near
Greenwich and Rotherhithe, which runs south for a brief stretch; this is the one area along the Thames where the setting September sun would appear, in actuality, to the right of the ship, albeit
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remained in the
National Gallery. It was in the Tate Gallery (as it then was) from 1910 to 1914 and 1960 to 1961, and for six months in 1987 to mark the opening of the Clore Gallery there, which houses the rest of the Bequest. In 1947–48 it went on a European tour to Amsterdam,
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289:, its rays extending into the clouds above it, and across the surface of the water. The red of the clouds is reflected in the river, repeating the colour of the smoke from the tugboat. The sun setting symbolises the end of an era; one where sail has been overtaken by steam.
196:, London for 40 years. He was renowned for his highly atmospheric paintings in which he explored the subjects of the weather, the sea and the effects of light. He spent much of his life near the River Thames and did many paintings of ships and waterside scenes, both in
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When exhibited at the Royal
Academy in 1839 the painting was a considerable success, praised in various of the lengthy press reviews that the Summer Exhibitions then received as a "grand image of the last days of one of Britain's bulwarks" as
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was a well-known ship from her heroic performance at the Battle of
Trafalgar, and her sale by the Admiralty had attracted substantial press coverage, which was probably what brought the subject to his attention. Instead of the
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drifts, with all its sail extended. Another small craft shows as a patch of white farther down the river. In the far distance, beyond a second tugboat which makes its way towards them, a three-
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He used considerable artistic licence in the painting, which had a symbolic meaning that his first audience immediately appreciated. Turner was twenty-eight years old when
Britain entered the
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considerably farther to the right than in the painting". Hawes, p. 43, footnote 6. However, since it is unlikely Turner actually saw the journey from any vantage place, the point is moot.
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images reveal that Turner seems to have used a canvas on which he had started another marine picture, with a large sail where the tugboat's above-deck structures now are.
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in the background. The quote "Light is therefore colour" from an 1818 lecture by Turner, and a copy of his signature as made on his will are also included.
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ended in 1856, when this and a large body of other work entered the collection of the
National Gallery. Most of the "Turner Bequest" was turned over to
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Turner took a degree of artistic licence with the painting. The ship was known to her crew as "Saucy", rather than "Fighting"
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The blue triangle frames a second triangle of masted ships, which decrease in size as they become more distant. The
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1195:(Evelyn Joll, Martin Butlin, and Luke Hermann, editors), pp. 106–07. New York: Oxford University Press, 2001.
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The current scholarly view is that it cannot be determined whether Turner actually witnessed the towing of the
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The
Trafalgar Companion: A Guide to History's Most Famous Sea Battle and the Life of Admiral Lord Nelson
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request saying that "no considns of money or favour can induce me to lend my
Darling again". Hogarth's
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834:"The Fighting Temeraire, tugged to her Last Berth to be broken up, 1838, 91×122 cm National Gallery"
204:. Turner frequently made small sketches and then worked them into finished paintings in the studio.
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895:(Second ed.). London, New York, Hamburg, Hong Kong: Lloyd's of London Press Ltd. p. 231.
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When Turner came to paint this picture he was at the height of his career, having exhibited at the
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This article is about the painting. For the 1971 novel about a
British nuclear submarine, see
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The picture remains in "exceptionally good condition", apart from slightly discoloured
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Matthew Morgan, 'Turner painting the
Fighting Temeraire' (lecture) (18 March 2016).
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90.7 cm × 121.6 cm (35.7 in × 47.9 in)
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The painting is the inspiration for the "Glowing Painting" found in the 2020
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correcting the painting by putting the mast of the tug before its smokestack
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was created from a revision of this article dated 7 November 2020
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ship rides at anchor. The becalmed vessels show the obsolescence of sail.
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1054:"Animal Crossing: New Horizons guide - Jolly Redd's art, real or fake?"
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992:"Rigged results – the artistic licence of Turner's Fighting Temeraire"
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The Fighting Temeraire, tugged to her last berth to be broken up, 1838
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The Fighting Temeraire, tugged to her last Berth to be broken up, 1838
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Turner: The Extraordinary Life and Momentous Times of J.M.W. Turner
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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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Egerton, Judy (1998). National Gallery Catalogues (new series):
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View in Wales: Mountain Scene with Village and Castle – Evening
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In February 2020, the Bank of England introduced a new polymer
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Famous Fighters of the Fleet, Edward Fraser, 1904, p.214
1885:(Slavers Throwing Overboard the Dead and Dying,
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England: Richmond Hill, on the Prince Regent's Birthday
1018:"New £20 notes featuring JMW Turner enter circulation"
527:, featuring Turner's c. 1799 self-portrait, with
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Two Captured Danish Ships Entering Portsmouth Harbour
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and tugboat have passed a small river craft with its
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by Matthew Morgan – National Gallery Lunchtime Talk
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1947:Rain, Steam and Speed – The Great Western Railway
516:to be symbolic of Bond's age and standing within
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1865:The Fighting Temeraire Tugged to Her Last Berth
1615:A Beech Wood with Gypsies Seated in the Distance
430:The flag which braved the battle and the breeze,
350:, the ship-breaker's brother) and turned into a
248:the old ship contrasts with the dirty blackened
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1850:Venice, from the Porch of Madonna della Salute
1501:Morning amongst the Coniston Fells, Cumberland
1126:(revised edition). London: National Gallery.
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1826:Venice: The Dogana and San Giorgio Maggiore
1160:The Fighting Temeraire: Legend of Trafalgar
680:Life of Turner, vol.2, Thornbury, p.335-336
462:when that was established in 1897, but the
1720:The Rise of the Carthaginian Empire
1600:A Beech Wood with Gypsies round a Campfire
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419:Turner objected to this 1845 engraving by
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218:and "had a strong patriotic streak". The
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1939:Moses Writing the Book of Genesis
1301:BBC 'In our time' podcast, November 2016
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1016:Collinson, Patrick (20 February 2020).
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109:, painted in 1838 and exhibited at the
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1937:The Morning after the Deluge –
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924:Egerton, 313, edition 1839, X for June
755:Venning, B (2003) "Turner" p. 241
176:. In 2020 it was included on the new
1935:Light and Colour (Goethe's Theory) –
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1193:The Oxford Companion to J.M.W. Turner
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243:Detail of the old warship and tugboat
174:voted the nation's favourite painting
1124:The National Gallery companion guide
915:Egerton, 313, edition of 11 May 1839
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787:Reynolds, Nigel (6 September 2005).
554:List of paintings by J. M. W. Turner
1630:Landscape with Lake and Fallen Tree
1387:Landscape with Windmill and Rainbow
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1927:War. The Exile and the Rock Limpet
1802:Childe Harold's Pilgrimage - Italy
1708:Snow Storm: Hannibal and his Army
1463:Aeneas and the Sibyl, Lake Avernus
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502:In popular culture and on currency
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891:Mitchell, WH; Sawyer, LA (1990).
506:The painting is used in the 2012
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838:William Turner, Painter of Light
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116:The painting depicts the 98-gun
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1372:Interior of a Romanesque Church
1296:Analysis and Critical Reception
1179:J.M.W. Turner: His Art and Life
1111:Hawes, Louis (1972). "Turner's
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1794:Funeral of Sir Thomas Lawrence
1455:Moonlight, a Study at Millbank
990:Warrell, Ian (12 March 2020).
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541:Animal Crossing: New Horizons
318:Detail of bottom right corner
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130:to have played a role in the
107:Joseph Mallord William Turner
2121:Paintings by J. M. W. Turner
1718:Dido building Carthage, or,
726:Fox, Abram (9 August 2015).
716:Egerton, 309–310, 309 quoted
330:, and was then moved to his
302:later wrote a ballad titled
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1875:Modern Rome – Campo Vaccino
1786:Ulysses Deriding Polyphemus
1425:Interior of a Gothic Church
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378:William Makepeace Thackeray
150:to be broken up for scrap.
142:in 1838, towards its final
16:Painting by J. M. W. Turner
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1684:London from Greenwich Park
1285:National Gallery, London:
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153:The painting hangs in the
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1955:Sunrise with Sea Monsters
1887:Typhoon Coming On)
1842:Rome, From Mount Aventine
1810:The Fountain of Indolence
1692:The Fifth Plague of Egypt
1440:Limekiln at Coalbrookdale
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1122:Langmuir, Erica (1997).
161:. In a poll organised by
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1710:Crossing the Alps
1585:Welsh Mountain Landscape
1509:Shipping by a Breakwater
1315:Smarthistory article on
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1762:The Battle of Trafalgar
1177:Wilton, Andrew (1979).
1082:. London: Aurum Press.
936:The Trafalgar Companion
365:History of the painting
2146:Napoleonic Wars in art
1963:Norham Castle, Sunrise
1867:to Be Broken up
1754:Rome, from the Vatican
1653:View on Clapham Common
1317:The Fighting Temeraire
1308:The Fighting Temeraire
1294:The Fighting Temeraire
1287:The Fighting Temeraire
1279:The Fighting Téméraire
1234:
1214:Listen to this article
1138:Moyle, Franny (2016).
951:The Fighting Temeraire
730:The Fighting Temeraire
656:"The National Gallery"
610:The Fighting Temeraire
594:The Fighting Temeraire
579:The Fighting Temeraire
529:The Fighting Temeraire
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444:James Tibbits Willmore
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421:James Tibbits Willmore
392:Ye Mariners of England
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304:The Fighting Temeraire
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1919:Peace – Burial at Sea
1738:The Field of Waterloo
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793:sinks the opposition"
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376:put it. The novelist
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134:, being towed up the
1281:at Wikimedia Commons
1265:More spoken articles
1157:Willis, Sam (2010).
1074:Adkin, Mark (2007).
432:No longer owns her.
356:John Rogers Watkins'
2072:Turner Contemporary
2062:Thomas Price Turner
1728:Dort or Dordrecht:
1700:High Street, Oxford
1163:. London: Quercus.
798:The Daily Telegraph
453:Detail of the frame
132:Battle of Trafalgar
2131:Maritime paintings
1402:Diana and Callisto
1235:
1119:, XXXV, pp. 22–48.
1113:Fighting Temeraire
1098:The British School
1060:. 8 November 2021.
791:Fighting Temeraire
728:"J. M. W. Turner,
464:Fighting Temeraire
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328:Sheerness Dockyard
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123:, one of the last
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1486:Caernarvon Castle
1277:Media related to
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1170:978-1-84916-261-6
1089:978-1-84513-018-3
844:on 1 January 2009
777:Hawes, pp. 34–38.
773:Wilton, p. 212;
383:Fraser's Magazine
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2126:Military art
2067:Turner Prize
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1911:The Red Rigi
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968:Egerton, 306
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842:the original
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739:. Retrieved
736:Smarthistory
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178:£20 banknote
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97:
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25:
2058:(2014 film)
2050:(2011 play)
2047:The Painter
2015:(1807–1819)
1986: 1845
1971: 1845
1883:Slave Ship
1858: 1835
1661: 1800
1645:Calais Pier
1638: 1800
1623: 1800
1608: 1800
1593: 1799
1578: 1799
1563: 1799
1550:(1798–1799)
1540: 1798
1525: 1798
1494: 1798
1471: 1798
1448: 1797
1433: 1797
1410: 1796
1395: 1795
1380: 1795
1306:Lecture on
1142:. Penguin.
1027:22 February
1001:22 November
394:, reading:
342:but now in
336:Rotherhithe
265:gaff rigged
227:flying the
198:watercolour
163:BBC Radio 4
148:Rotherhithe
125:second-rate
21:John Winton
2141:Sun in art
2105:Categories
2055:Mr. Turner
1261:Audio help
1252:2020-11-07
1132:185709218X
1106:1857091701
848:8 February
789:"Turner's
707:Moyle, 383
644:Moyle, 383
560:References
508:James Bond
352:lithograph
338:, then in
254:smokestack
229:Union Jack
188:Background
73:Dimensions
1996:(unknown)
1363:Paintings
621:6 January
485:Cape Town
471:, Paris,
344:Southwark
324:Temeraire
294:Temeraire
283:Temeraire
261:Temeraire
235:Symbolism
225:Temeraire
220:Temeraire
209:Temeraire
170:programme
140:steam tug
120:Temeraire
113:in 1839.
2090:Category
1263: ·
949:Willis.
741:12 April
665:13 March
592:Willis.
577:Willis.
548:See also
536:Nintendo
525:£20 note
473:Brussels
390:'s poem
81:Location
2039:Related
2023:Museums
1978:Whalers
1250: (
1221:minutes
1068:Sources
1058:Polygon
934:Adkin.
660:Youtube
538:series
513:Skyfall
492:varnish
359:Monarch
292:Behind
287:estuary
250:tugboat
200:and in
2004:Prints
1958:(1845)
1950:(1844)
1942:(1843)
1930:(1842)
1922:(1842)
1914:(1842)
1906:(1842)
1898:(1842)
1890:(1840)
1878:(1839)
1870:(1838)
1845:(1835)
1837:(1835)
1829:(1834)
1821:(1834)
1813:(1834)
1805:(1832)
1797:(1830)
1789:(1829)
1781:(1828)
1773:(1826)
1765:(1822)
1757:(1820)
1749:(1819)
1741:(1818)
1733:(1818)
1723:(1815)
1713:(1812)
1703:(1810)
1695:(1810)
1687:(1809)
1679:(1807)
1671:(1805)
1663:–1805)
1648:(1803)
1595:–1800)
1580:–1800)
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1481:(1798)
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89:London
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565:Notes
510:film
496:X-ray
477:Liège
332:wharf
168:Today
144:berth
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1003:2022
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667:2021
623:2018
469:Bern
268:sail
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442:by
334:at
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