William Turner in the Vale of Glamorgan

 

William Turner, or J.M.W Turner (Joseph Mallard William Turner) (1775-1851) needs little introduction. Whether or not one is interested in art William Turner is a household name not just in Britain but in many countries, and for good reason as he is widely considered to be one of Britain’s finest and most celebrated artists. 

As a child prodigy, Turner was encouraged to study and hone his craft from an early age and started attending classes at the Royal Academy in 1789 aged 14.  A prolific artist during his lifetime, Turner produced some 550 oil paintings, 2000 water colours and 30,000 works on paper, many of which can be found at the Tate London but also as far away as America and New Zealand.

(William Turner self-portrait 1799. C Tate)

Turner explored a variety of artistic themes such as architecture and portraits as well as undertaking traditional topographical works which were inspired by the Dutch landscape painters of the seventeenth century. Turner was also inspired by romanticism. Turner is lauded in particular for his use of light and colour which he used to great effect to convey a moody ambience within his romantic landscapes and seascapes. Some of his more notable works include Hannibal Crossing the Alps (1812), Fishermen at Sea (1796), The Decline of the Carthaginian Empire (1817), and The Fighting Temeraire (1838).

Later on in his career Turner began to produce more abstract pieces, and although criticised by some during his lifetime, his later abstract works were embraced by modernist and avant-garde critics during the early twentieth century.  Turner’s work it seems, has universal appeal.

Turner and South Wales

Turner like most other artists was inspired by landscapes and nature. Wales, in particular South Wales, from the mid eighteenth century onwards was a popular place for early tourists, writers and artists who with zeal enthusiastically searched for the romantic ruins of Britain’s ancient past within the sublime landscapes of this region. Turner found plenty of inspiration in South Wales and returned on several occasions.

Tintern Abbey (1794) is perhaps Turner’s most well known piece from his time spent in South Wales. Newport Castle (1796) is also another of Turner’s more well-known works from his tours of Monmouthshire.  Turner also visited Cardiff and exhibited a watercolour of Cardiff Castle and bridge in 1795-6.

Turner travelled through parts of the former county of Glamorganshire, including the coastal tracts of lowland Glamorganshire which now comprise the Vale of Glamorgan.

(Transept of Ewenny Priory 1797. C Tate)

Turner’s most well-known piece from the Vale of Glamorgan is the Transept of Ewenny Priory. Turner it seems was captivated by this place and visited several times during the late eighteenth century. Turner made a number of sketches in 1795 and in the subsequent years produced a full watercolour which was first shown at Royal Academy in 1797. Turner returned again to Ewenny Priory in 1798 and produced a further two or three sketches of its interior Norman arches.

In 1795 Turner also made a sketch of Penllyn Castle with Cowbridge in the foreground. This sketch it seems did not transition into a full-blown watercolour.

(Penllyn Castle with Cowbridgre, 1795. C Tate)

Turner and Wenvoe Castle

Many Barrians are probably unaware that Turner sought inspiration for his art within the countryside surrounding the town of Barry when he chose to sketch Wenvoe Castle. Barry of course during the late eighteenth century, along with the settlements that would eventually comprise its districts, was still very much a village. 

Wenvoe Castle nowadays is probably more well-known as a golf club, but back in Turner’s day Wenvoe Castle was the commodious home of the Jenner family, who had recently inherited Wenvoe Castle from Yorkshire magnate Peter Birt. The architectural style of Wenvoe Castle which was built between 1776-77 on designs drawn up by noted architect Robert Adams, provoked mixed reactions from Turner’s peers. Built in castellated style-Wenvoe Castle was certainly architecturally different to many contemporary Georgian mansions.

(Sketch of Wenvoe Castle, 1798. C Tate)

Turner made his sketch of Wenvoe Castle in 1798.  It is not clear whether or not the sketch derived from the promise of a commission from the Jenner family, or that it was derived of Turner’s own personal interest and inspiration. Either way, the Wenvoe castle sketch, like that of Penllyn and Cowbridge, did not become the basis for a full-blown painting.

Turner’s position it seems would have been somewhere near the vicinity of Port Road, perhaps a stone’s throw away from the now (sadly) demolished Stumpy Lodge-a late Georgian Turnpike house.

The majority of Wenvoe Castle was destroyed by fire in 1910. The east pavilion and stable block however survived.

 All images C Tate Gallery London

©Jonathan and Mark Lambert 2019

The right of Jonathan and Mark Lambert to be identified as Authors of this work has been asserted in accordance with the Copyrights, Designs and Patents Act 1988. All rights reserved. No part of this article may be reprinted, reproduced or utilised in any form or by any electronic means, including social media, or mechanical, or by any other means including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the authors.