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From the right foreground, a gondolier guides his craft towards the shore as the sky darkens and a storm threatens to engulf the city. The location and specific architectural features are quite recognizable, but the treatment is impressionistic to an extreme. It’s as if La Serenissima, the city miraculously built on the water, is being reclaimed by the elements.

His sensitivity to atmospheric effects was acute to the point of obsession, and the immediacy of watercolor suited him to perfection. The famous story that he had himself tied to the mast of a ship to more accurately capture the experience of a storm is probably apocryphal, but he certainly went to considerable lengths to record appearances accurately.

Storm At The Mouth Of The Grand Canal, Venice, C. 1840

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Poster
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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Poster
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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Art Print
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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Art Print
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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Art Print
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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Art Print
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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Canvas Print
Rolled • 12x8 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Canvas Print
Rolled • 18x12 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Canvas Print
Rolled • 24x16 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Canvas Print
Rolled • 30x21 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Canvas Print
Wrapped • 12x8 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Canvas Print
Wrapped • 18x12 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Canvas Print
Wrapped • 24x16 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Canvas Print
Wrapped • 30x21 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Canvas Framed Print
Framed • 12x8 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Canvas Framed Print
Framed • 18x12 inches

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Medium Size

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Canvas Framed Print
Framed • 24x16 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Canvas Framed Print
Framed • 30x21 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Framed Print
Framed With Mat • 12x8 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Framed Print
Framed With Mat • 18x12 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Framed Print
Framed With Mat • 24x16 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Framed Print
Framed With Mat • 30x21 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Poster
Rolled • 30x24 inches

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Storm At The Mouth Of The Grand Canal, Venice, C. 1840 Poster
Framed • 30x24 inches

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From the right foreground, a gondolier guides his craft towards the shore as the sky darkens and a storm threatens to engulf the city. The location and specific architectural features are quite recognizable, but the treatment is impressionistic to an extreme. It’s as if La Serenissima, the city miraculously built on the water, is being reclaimed by the elements. His sensitivity to atmospheric effects was acute to the point of obsession, and the immediacy of watercolor suited him to perfection. The famous story that he had himself tied to the mast of a ship to more accurately capture the experience of a storm is probably apocryphal, but he certainly went to considerable lengths to record appearances accurately.

Joseph Mallord William Turner RA known as J. M. W. Turner and contemporarily as William Turner, was an English Romantic painter, printmaker and watercolourist, known for his expressive colourisation, imaginative landscapes and turbulent, often violent marine paintings.   Turner was born in Maiden Lane, Covent Garden, London, to a modest lower middle-class family. Intensely private, eccentric and reclusive, Turner was a controversial figure throughout his career. He left behind over 2,000 paintings and 19,000 drawings and sketches. He had been championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivaling history painting.

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