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SUMMARY:Bodies\, Wrecks and Relics: Turner’s ‘Trafalgar’ paintings -
  Christine Riding (Head of Arts and Curator of the Queen’s House\, Royal
  Museums Greenwich)
DTSTART:20150225T170000Z
DTEND:20150225T180000Z
UID:TALK58233@talks.cam.ac.uk
CONTACT:Julien Domercq
DESCRIPTION:Dear all\, we are absolutely delighted to welcome another dist
 inguished academic and curator to this week's History of Art Graduate Semi
 nar. Please find the abstract for the talk below. Christine Riding is Cura
 tor of the Queen's House and Head of Arts at the Royal Museums\, Greenwich
  and was previously Curator of Eighteenth and Nineteenth century British A
 rt at Tate Britain\, as well as Deputy Editor of Art History (The Journal 
 of the Association of Art Historians). She has curated major exhibitions s
 uch as Turner and the Sea at the National Maritime Museum last year and ma
 ny others during her time at Tate. She has also been responsible for innov
 ative research projects such as Tate's online research publication: The Ar
 t of the Sublime ( http://www.tate.org.uk/art/research-publications/the-su
 blime ). Do join us this Wednesday 25 February at 5pm at 4a Trumpington St
 reet (above Hot Numbers). All welcome\, snacks and drinks afterwards as al
 ways! x\n\n\nBodies\, Wrecks and Relics: Turner’s ‘Trafalgar’ painti
 ngs\n\nChristine Riding\nHead of Arts and Curator of the Queen’s House\,
  Royal Museums Greenwich\n\nBattle painting was an established and distinc
 t branch of marine art and yet\, despite the extended period of conflict r
 epresented by the French Revolutionary and Napoleonic Wars (1792–1815)\,
  it was to feature very little in Turner’s work. If the depiction of act
 ual battle scenes was of limited artistic interest\, in contrast\, Turner
 ’s engagement with the Battle of Trafalgar (1805) in particular\, and th
 e navy more generally\, was wide-ranging and profound. It was a subject th
 at he returned to repeatedly in exhibited paintings and watercolours\, and
  in designs for numerous print projects. Above all\, his interest in the s
 ubject is signposted by three major works that span more than thirty years
 : The Battle of Trafalgar\, as Seen from the Mizen Starboard Shrouds of th
 e ‘Victory’ (1806–08)\, The Battle of Trafalgar (1823–24) and The 
 Fighting ‘ Temeraire’ (1839) – Turner’s ‘Trafalgar’ paintings.
  This paper will explore the various historical and artistic contexts with
 in which these works were created\, the continuities and contrasts between
  the representations\, and finally propose how the three paintings could b
 e read (and perhaps were conceived) as a quasi-religious triptych.\n\n\n!h
 ttp://i59.tinypic.com/23jid6r.jpg!
LOCATION:The History of Art Graduate Centre - 4a Trumpington Street (above
  Hot Numbers coffee shop)
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