Oil paint on canvas
Italy
Tate Collection
Works with images
Works on loan
Joseph Mallord William Turner
Turner Bequest
Oil paintings
Collection
Turner owned by Tate
<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>
Venice  Noon
Accepted by the nation as part of the Turner Bequest 1856
adults
architecture
boat, gondola
cities, towns, villages (non-UK)
countries and continents
figure
group
groups
Italy
people
places
sea
seascapes and coasts
society
townscape, distant
townscapes / man-made features
transport: water
Venice, Doge’s Palace
Venice, San Giorgio Maggiore
<p>This painting is part of a pair to <span>Venice – Sunset, a Fisher</span>. Turner first exhibited it with the caption ‘Fallacies of Hope’. This is the title of a poem he wrote to accompany his pictures, although he didn’t include any verse in this case. Although the church of San Giorgio and the Doge’s palace are visible to left and right, the composition here is largely imaginary. The ruddy sunset colouring has darkened since it was first painted, but a reviewer at the time called it ‘a beautiful dream, full of Italy, and poetry, and summer’.</p><p><em>Gallery label, December 2020</em></p>
painting oil paint canvas
1 September 2020 – 27 November 2022
2022-11-27
1 September 2020
2020-09-01
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
2020-09-01
Clore 106
Collection based display
6 July 2024 – 15 January 2028
2028-01-15
6 July 2024 – 1 September 2024
2024-09-01
2024-07-06
Grimaldi Forum (Monaco, Monaco)
30 September 2024 – 7 May 2025
2025-05-07
2024-09-30
Museum of Art Pudong (Shanghai, China)
21 June 2025 – 5 October 2025
2025-10-05
2025-06-21
Queensland Art Gallery of Modern Art (Brisbane, Australia)
1 June 2026 – 1 October 2026
2026-10-01
2026-06-01
External
15 November 2026 – 15 March 2027
2027-03-15
2026-11-15
External
1 May 2027 – 1 September 2027
2027-09-01
2027-05-01
External
15 October 2027 – 15 January 2028
2028-01-15
2027-10-15
External
2024-07-06
Turner's Sublime Legacy
Tate partnerships & programmes
Venice - Noon
support: 610 × 918 mm
frame: 875 × 1883 × 105 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="text">
<p>This painting is part of a pair to <i>Venice – Sunset, a Fisher</i>. Turner first exhibited it with the caption ‘Fallacies of Hope’. This is the title of a poem he wrote to accompany his pictures, although he didn’t include any verse in this case. Although the church of San Giorgio and the Doge’s palace are visible to left and right, the composition here is largely imaginary. The ruddy sunset colouring has darkened since it was first painted, but a reviewer at the time called it ‘a beautiful dream, full of Italy, and poetry, and summer’.</p>
</div>

Display caption
2020-12-04T00:00:00
display-caption
DISPLAY_CAPTION
<p><b>418. </b>[<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-venice-noon-n00541" title="View the details of this artwork"><span>N00541</span></a>]<b> Venice—Noon Exh. 1845</b></p>
<p>THE TATE GALLERY, LONDON (541)</p>
<p>Canvas, 24 × 36 1/8 (61 × 91·5)</p>
<p><b>Coll.</b> Turner Bequest 1856 (one of 18–21, 36–40; see No. 383 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-venice-the-bridge-of-sighs-n00527" title="View the details of this artwork"><span>N00527</span></a>]); transferred to the Tate Gallery 1929.</p>
<p><b>Exh.</b> R.A. 1845 (396); Cardiff 1951.</p>
<p><b>Lit.</b> Thornbury 1862, i, 348–9; 1877, p. 467; Bell 1901, p. 153 no. 253; Armstrong 1902, p. 235; MacColl 1920, p. 24; Finberg 1930, pp. 151, 158; Davies 1946, p. 186; Finberg 1961, pp. 407, 509 no. 567; Rothenstein and Butlin 1964, p. 66.</p>
<p>Exhibited in 1845 with the caption ‘<i>MS. Fallacies of Hope</i>’. Thornbury adds the subtitle, ‘from the Canal of St. Mark’, also found in early National Gallery catalogues. MacColl identifies the view as seen ‘from a point off the Public Gardens; in the distance to left the Church of San Giorgio, to right the Doge's palace’. For the possible interest of a ‘Mr. P.’ in this picture and No. 419 [<a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/turner-venice-sunset-a-fisher-n00542" title="View the details of this artwork"><span>N00542</span></a>] see the entry for Nos. 421–2.</p>
<p>The <i>Spectator</i> for 10 May 1845 spoke of the two Venetian scenes in the Middle Room, this picture and No. 419 [<span>N00542</span>], as ‘another pair of gorgeous visions of <i>Venice</i>, blazing with sunlight that floods sea and sky’, which makes one regret the presents state of this picture. The <i>Athenaeum</i> for 17 May, after claiming that most of Turner's exhibits in 1845 did not make sense even at a distance, went on, ‘But the Venice, Noon (396), beheld from one particular point, is a beautiful dream, full of Italy, and poetry, and summer’.</p>
<p>The paint and, probably, the ground were transferred from the original <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/c/canvas" title="Glossary definition for 'Canvas'"><span>canvas</span></a> in 1926.</p>
<p><b>Published in:</b>
<br/>Martin Butlin and Evelyn Joll, <i>The Paintings of J.M.W. Turner</i>, revised ed., New Haven and London 1984
<br/></p>

Catalogue entry
2004-09-23T00:00:00
catalogue-entry
CATALOGUE_ENTRY
adults architecture boat, gondola cities, towns, villages (non-UK) countries and continents figure group groups Italy people places sea seascapes and coasts society townscape, distant townscapes / man-made features transport: water Venice, Doge’s Palace Venice, San Giorgio Maggiore