1906: EXHIBITION OF THE 'UNFINISHED' TURNERS AT THE TATE GALLERY
The event was heralded by the following paragraph communicated to
the Press by the Director and Trustees of the National Gallery:--
'Unexhibited Oil Paintings; Turner's Bequest. The Turner Collection of
paintings, placed in the custody of the National Gallery Trustees, on
September 25th, 1856, contained, besides the pictures since hung in
Public Exhibition Rooms, or in the Official Rooms at Trafalgar Square,
or lent under the Loan Act of 1883 to Provincial Museums, a certain
number of paintings which, on account of their unfinished or wrecked
condition, it has never been thought possible to exhibit.
'A more careful examination has lately led the Trustees to believe
that some, at least, of these paintings may now be framed and take
their place in the general collection. A selection has been made for
this purpose, and of the paintings selected, many have been relined,
and all are in course of being surface cleaned and varnished.'
On February 5th, 1906, the 'unfinished' oil-paintings by Turner were
exhibited for the first time, in Room VII. of the Tate Gallery. Those
who were present will never forget the occasion. Exclamations of
delight and astonishment were continuous. Few had ever experienced
such a succession of thrills. Everybody was surprised into--almost
into extravagance. The _Times_ began its article: 'To-day the nation
is invited to view some marvellous treasures, of which it has all
unconsciously been the possessor for fifty years,' and quoted the
remark of an artist who was present: 'We have never seen Turner
before.' Another critic wrote: 'The first _coup d'œil_ of the room
in which these treasures are displayed, is one never to be forgotten
for those with eyes for seeing. The rare moment in life has come when
criticism is disarmed. Suddenly, and without warning, the observer has
been transported to the realms of enchantment.'
It was, perhaps, unfortunate that mingled with these 'unfinished'
Turners, these prismatic and pearly visions, these flushes of
iridescent colour on white grounds, were some of the laboured but
magnificent failures of his later years and other periods. Those who
did not know the work of Turner thoroughly had some difficulty in
harmonising the brilliant impulses of his maturity with the ambitious
works of his decline.
I have discussed these 'unfinished' oil-paintings in preceding
chapters; but it may be interesting to place on record here a list of
the titles of the twenty-six unexhibited pictures first shown to the
public on February 5th, 1906. (Two more were added in 1909--'Bridge and
Tower,' No. 2424; and 'A Wreck with Fishing Boats,' No. 2425.)
'Norham Castle, Sunrise.' No. 1981.
'Sunrise, a Castle on a Bay.' No. 1985.
'Sunrise, with a Sea Monster.' No. 1990.
'Sunrise, with a Boat between Headlands.' No. 2002.
'Hastings.' No. 1986.
'The Evening Star.' No. 1991.
'Interior at Petworth.' No. 1988.
'Rocky Bay with Classic Figures.' No. 1989.
'Storm off a Rocky Coast.' No. 1980.
'Margate from the Sea.' No. 1984.
'Breakers on a Flat Beach.' No. 1987.
'The Thames from above Waterloo Bridge.' No. 1992.
'Yacht Racing in the Solent, No. 1.' No. 1993.
'Yacht Racing in the Solent, No. 2.' No. 1994.
'Yacht Racing in the Solent, No. 3.' No. 1995.
'Between Decks.' No. 1996.
'A Regatta at Cowes.' No. 1997.
'Shipping at Cowes, No. 1.' No. 1998.
'Shipping at Cowes, No. 2.' No. 2000.
'Shipping off a Headland.' No. 1999.
'Study of Sea and Sky.' No. 2001.
'The Old Chain Pier, Brighton.' No. 2064.
'A Ship Aground.' No. 2065.
'The Arch of Constantine, Rome.' No. 2066.
'Tivoli.' No. 2067.
'The Burning of the Ships.' No. 2068.
For weeks the appearance of Room VII. at the Tate Gallery had the
aspect of a Private View day at the Royal Academy. Really it seemed
as if art had become popular. The shell of Anglo-Saxon reserve was
broken, and comments of amazement and delight were uttered aloud at
the shimmering light of the sunrise series; at the pale beauty of the
yachting pictures; at the loveliness of 'The Evening Star' nocturne; at
the Monticellian orgy of colour in the 'Interior at Petworth'; at those
irresistible final efforts of his imagination, coherent if extravagant,
the 'Sunrise with a Sea Monster,' and 'The Burning of the Ships.'
Unfinished? A work of art is finished when the artist has said all he
has to say. Turner had no more to tell about sunrises, sunsets, or pale
sails against pale skies. He knew that, and he had the strength to
leave them as they are--unfinished, but supremely realised.