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 10 Proportion and Design Part Raphaels Transfiguration
Accepted by the nation as part of the Turner Bequest 1856
abstraction
adults
Bible: New Testament
Christ
diagrammatic
emotions, concepts and ideas
fine art and design, named works
formal qualities
geometric
man
Matthew, chapter 17
non-representational
objects
people
perspective
Raphael, painting, ‘Transfiguration’
religion and belief
Transfiguration
<p>Turner began Lecture 1 with a discussion of how basic geometry informed Old Master paintings. Here he shows how the composition of Raphael's Transfiguration is made up of intersecting triangles.</p><p><em>Gallery label, September 2004</em></p>
paper unique 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
5 October 2007 – 6 January 2008
2008-01-06
5 October 2007 – 6 January 2008
2008-01-06
2007-10-05
Schirn Kunsthalle Frankfurt (Frankfurt, Germany)
http://www.schirn.de
2007-10-05
Turner - Hugo -  Moreau: Abstraction between the Image made by Chance and the Aesthetics of Effect
Loan-out
Lecture Diagram 10: Proportion and Design of Part of Raphael’s ‘Transfiguration’
image: 603 × 510 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">Turner began Lecture 1 with a discussion of</span><span class="text0"> how basic geometry informed Old Master <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/painting" title="Glossary definition for 'Painting'"><span>paintings</span></a>. Here he      shows how the <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/composition" title="Glossary definition for 'Composition'"><span>composition</span></a> of Raphael's </span><span class="text15">Transfiguration      </span><span class="text0">is made up of intersecting triangles. </span>
</div>

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2004-09-10T00:00:00
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Catalogue entry
catalogue-entry-xml
TURNER_CATALOGUE_TEXT_WORK
abstraction adults Bible: New Testament Christ diagrammatic emotions, concepts and ideas fine art and design, named works formal qualities geometric man Matthew, chapter 17 non-representational objects people perspective Raphael, painting, ‘Transfiguration’ religion and belief Transfiguration
CXCV 163