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Etched by Joseph Mallord William Turner, 1775–1851, British, The Drawing of the Clyde, 1809
- Title:
- The Drawing of the Clyde
- Part Of:
- Date:
- 1809
- Materials & Techniques:
- Etching and mezzotint, printed in brown ink on medium, slightly textured, cream wove paper
- Dimensions:
- Sheet: 10 1/2 × 14 1/8 inches (26.7 × 35.9 cm), Plate: 8 1/4 × 11 1/2 inches (21 × 29.2 cm), Image: 7 1/8 × 10 1/2 inches (18.1 × 26.7 cm)
- Inscription(s)/Marks/Lettering:
Inscribed on verso in graphite, lower center: "6a"
Lettered above image: "E. P."; below image: "Drawn & Etched by J.M.W. Turner Esqr. R.A.P.P. | Engraved by C. Turner | Drawing of the Clyde. In the possession of J.M.W. Turner | London, Published March 29. 1809, by C. Turner, no. 50. Warren Street, Fitzroy Square."; lettered in two vertical columns, lower right: "f 3 2 1 4 5"
- Credit Line:
- Yale Center for British Art, Paul Mellon Fund
- Copyright Status:
- Public Domain
- Accession Number:
- B1970.3.1264
- Classification:
- Prints
- Collection:
- Prints and Drawings
- Subject Terms:
- landscape | river | waterfalls
- Associated Places:
- Falls of Clyde (waterfalls) | New Lanark | River Clyde | Scotland
- Access:
- Accessible in the Study Room [Request]
- Link:
- https://collections.britishart.yale.edu/catalog/tms:23112
- Export:
- XML
- IIIF Manifest:
- JSON
According to Turner, all landscapes belong to one of six fundamental categories: Architectural, Historical, Marine, Mountainous, Pastoral, and Elevated Pastoral. These prints are part of a systematic publication, the Liber Studiorum (“Book of Studies”), containing examples from each of these categories. This work provides further testimony to the enduring influence of Claude Lorrain. Claude made sepia ink and wash drawings to record all his authentic compositions and brought them together to form his celebrated Liber Veritatis (“Book of Truth”). These drawings came to be seen as the epitome of the art of landscape and were later reproduced as fine mezzotints. They inspired Turner to make his own, even more ambitious equivalents. Though imitating the format and sepia coloring of Claude’s drawings, Turner’s plates were intended not as a record of his paintings but to illustrate his own original theory of landscape art. Although never completely finished, the Liber Studiorum is among the artist’s most personal and pioneering contributions to the practice of printmaking. Gallery label for J. M. W. Turner: Romance and Reality (Yale Center for British Art, March - 29, 2025 - July 27, 2025)
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