The article finally turns to give some thought to the figures depicted by Turner in the watercolour. In this case, the topographic content of the watercolour, and of a related colour study in watercolour (Tate D36182 TB CCCLXIV 324), turns out to be less than straightforward. My greatest pleasure is to put Turner on the spot with colours and paper in hand, setting down phenomena so particular that they can only have been recorded direct from observation. Given my avowed interest in the topographic content of Turner’s work, and my manifesto on the value of proper consideration of the subject through fieldwork investigation (see ‘Introduction’), this watercolour proves rather problematic. This may well result in further articles but here I will focus on sketches that record the view from the Reussbrucke towards the Lake of Lucerne with the Kapellbrucke and Wasserturm as the main landmarks. This in turn prompted a more extended search for Lucerne material in the Turner Bequest. I was prompted to look into these by my recent article on Turner’s watercolour of Lungern (note 2) and consequent interest in Turner’s Between Lucerne and Thun sketchbook (Tate, TB CCCXXIX) which contains sketches of the Lungernsee, but begins with an extended sequence of studies at Lucerne. Finberg worked across the whole multitude of near 40,000 individual drawings, so he can be excused for having failed to recognise a significant number showing Lucerne, or for having described the subjects only in very general terms. Not since A.J.Finberg published his inventory of the Turner Bequest in 1909 has anyone made a systematic examination of Turner’s sketches of Lucerne. London, British Museum, R.W.Lloyd bequest, -44
Given that it is widely considered to be one of the most important of a great late series of Swiss subjects from the 1840s, when Turner was in the last decade of his life, it is perhaps surprising that no-one has ever sought to ground the picture in his visits to the site. This article seeks to give some consideration to a well-known, but relatively-little-discussed watercolour by Turner, Lucerne by Moonlight at the British Museum, London (note 1). Search Author_LiLhyz on IG & FB.REVISED VERSION WITH NEW PHOTOS, JUNE 2014 Note each story can be read as a standalone.įollow me on social media. Ethan Wright, the most powerful businessman in the city.īook 3: Flash Marriage: A Billionaire For A Reboundīook 4: I Fell For The Boy His Daddy Was A Bonus Standing before her was a block of ice, Mr. However, one day, her twins came to her with glistening eyes and announced, "Mommy! We found Daddy!" She knew she was bound to answer her kids' curiosity over their unknown father and she concluded, it was about time to tell the truth. He is working at Braeton City." Yet again, Samantha chose the easy way out.Īfter nearly six years, Samantha returned to the place that had long forsaken her, Braeton City.
Dada is far away." That was the easiest way for Samantha to explain to her kids the absence of a father.Īt four years old, they asked again, "Mommy where is Daddy?"
Little did she know, her twins meant to find a daddy and they weren't settling for any less!Īt three years old, her babies asked, "Mama, where Dada?" Raising her own children, Samantha strived and overcame. Samantha Davis fell pregnant and she knew nothing about the man she slept with.Īfter being disowned by her father, she left the city to start anew.