Other than number of children, Turner is the outstanding winner in the game of early 19 century painter Top Trumps #TurnerConstable #TateBritain

If you’re planning to go to this exhibition, allow plenty of time. I was there for 2 hrs on Thursday and covered seven rooms, partly because it was so busy. Managed to squeeze in the rest during a spare hour today, but there’s a lot to see! #TurnerConstable #ArtSky

JMW Turner The Burning of the Houses of Lords and Commons, 16 October, 1834 exhibited 1835 Oil paint on canvas The Houses of Parliament burned down on the night of 16 October, 1834. The fire carried a powerful symbolism. After intense parliamentary debate, the right to vote had recently been extended to a greater number of people. It was as if the old order had self-combusted and a new political age was dawning. Turner clearly revelled in depicting the towering flames (which he may well have exaggerated) and their reflection against the deep blue of night. The Cleveland Museum of Art, Bequest of John L. Severance 1942.647 X76495

JMW Turner Snow Storm - Steam-Boat off a Harbour's Mouth exhibited 1842 Oil paint on canvas This is one of Turner's most daring paintings. In a battle between modern machine and nature, a steamboat faces a blizzard. Its black fumes join the whirling vortex of snow and sea. Turner claimed he was lashed to a mast so that he could observe this storm. This and the detailed title tell us that Turner wanted viewers to see this dizzying scene as an authentic record - just as Constable wished for his own work. Tate. Accepted by the nation as part of the Turner Bequest 1856 N00530

JMW Turner The Thames above Waterloo Bridge c.1830-5 Oil paint on canvas We can barely make out Waterloo Bridge through the heavy atmosphere. By the early 1830s, Parliament was discussing air pollution. Operators of traditional barges were complaining about the dirt and disruption of the new steamboats. In 1834, a steamboat service began taking passengers from this very spot. Turner shows a large duel-funnelled steamer belching smoke. He may have had in mind Constable's depiction of the same view (hanging nearby) when he began this painting. Perhaps he took up this subject to show how London really looked in the 1830s, hidden in a cloud of fumes. Tate. Accepted by the nation as part of the Turner Bequest 1856 NO1992

JMW Turner Keelmen Heaving in Coals by Moonlight Exhibited 1835. Oil paint on canvas The setting is Shields, the port on the River Tyne near Newcastle. This area was Britain’s main suppllier of coal On theright, men shovel it from barges, or keels, into larger boats which mill transport it around the county. The moon has a double symbolism, suggesting on the one hand an industry that never sleeps. But new railways were making coal barges obsolete. Turner, with his eye for a poignant narrative, shows that the sun has set on the keelman's traditional occupation.

Knocked out by the ‘Late Turner’ artworks at Tate Britain’s TURNER & CONSTABLE, RIVALS & ORIGINALS exhibition.

The first one pictured here is absolutely astonishing up close! #Art #ArtSky #TurnerConstable

Turner on Via Posillipo, Google Maps on Via Posillipo #turnerconstable