Pen and ink, graphite and watercolour on paper
I. Numbered Perspective Diagrams
Perspective lectures c.1809-28
I. Numbered Perspective Diagrams
Perspective lectures c.1809-28
Tate Collection
Works with images
Joseph Mallord William Turner
Turner Bequest
Collection
Turner owned by Tate
Catalogued Turner works on paper
<a href="https://www.tate.org.uk/art/artists/joseph-mallord-william-turner-558" aria-label="More by Joseph Mallord William Turner" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Joseph Mallord William Turner</a>
Lecture Diagram 83 Elevation a Stoa or Portico after James Stuart
Accepted by the nation as part of the Turner Bequest 1856
architectural plan / elevation
architecture
classical
colonnade
column
diagrammatic
emotions, concepts and ideas
features
formal qualities
inscriptions
natural phenomena
periods and styles
shadow
symbols and personifications
<p>After presenting the side elevation rendered in simple outline form, Turner used this drawing to show the same view but now with aspects of ‘atmospheric’ perspective, such as colour and shading. While these pictorial effects lend the scene a greater sense of depth, the drawing still does not reveal how many columns are along the front of the building. Turner ultimately argued that students should avoid applying perspective features to an elevation drawing. The two, he suggests, are equally important but should remain separate.</p><p><em>Gallery label, September 2004</em></p>
paper unique pen ink graphite watercolour
31 May 2004 – 8 November 2004
2004-11-08
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
2004-05-31
Vanishing Point: The Perspective Drawings of J.M.W Turner
Collection based display
Lecture Diagram 8/3: Elevation of a Stoa or Portico (after James Stuart)
support: 590 × 724 mm
Accepted by the nation as part of the <a href="/search?gid=999999781" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Turner Bequest</a> 1856
<div class="pbodytext">
<span class="text14">After presenting the side elevation rendered</span><span class="text0"> in simple outline form, </span><span class="text15">Turner      used this <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/d/drawing" title="Glossary definition for 'Drawing'"><span>drawing</span></a> to show the same</span><span class="text0"> </span><span class="text15">view but now with aspects of ‘atmospheric’</span><span class="text0"> <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/perspective" title="Glossary definition for 'Perspective'"><span>perspective</span></a>, such as colour and shading. </span><span class="text16">While these pictorial effects lend the scene</span><span class="text0"> a greater sense of depth, the drawing still does not reveal      how many columns are along the front of the building. Turner ultimately      argued that students should avoid applying perspective features to an      elevation drawing. The two, he suggests, are equally important but should      remain separate.  </span>
</div>

Display caption
2004-09-10T00:00:00
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DISPLAY_CAPTION
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Technique and condition
2012-11-11T00:00:00
technique-and-condition-xml
TECHNICAL_ENTRY
/art/ajax/research-text/art/artworks/turner-lecture-diagram-8-3-elevation-of-a-stoa-or-portico-after-james-stuart-d17142/TURNER_CATALOGUE_TEXT_WORK
Catalogue entry
catalogue-entry-xml
TURNER_CATALOGUE_TEXT_WORK
architectural plan / elevation architecture classical colonnade column diagrammatic emotions, concepts and ideas features formal qualities inscriptions natural phenomena periods and styles shadow symbols and personifications
CXCV 171