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This composition is painted with a limited range of colors, arranged to give strong contrasts between primary colors. It also incorporates the pale blue wove paper so that it makes a significant contribution to the image. Artists who try to copy a Turner watercolor in order to understand his methods often seem to be drawn to this work, and a description of one way to go about it, using modern materials, has recently been published.

For the pale bluish grey paint used for the bridge and buildings, Turner used lead white and a little natural ultramarine, painted onto dry paper and left to dry. This paint conceals the paper color, but all the later washes are transparent, and allow the blue to shine through. In the gaps between washes, the paper acts as a blue tone in the composition. For the sunset, Turner used vermilion and chrome yellow. The red and yellow washes overlap only in the water, which has a fuzzy reflection of the pure yellow sun, itself painted into a reserve deliberately in the red paint of the sunset, and overlapping some red paint. This would be successful only with very opaque pigments such as these.

The Scarlet Sunset c.1830–40

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The Scarlet Sunset c.1830–40 Poster
Rolled • - 17x12 inches

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The Scarlet Sunset c.1830–40 Poster
Framed • - 17x12 inches

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The Scarlet Sunset c.1830–40 Art Print
Rolled • 12x9 inches

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The Scarlet Sunset c.1830–40 Art Print
Rolled • 18x13 inches

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The Scarlet Sunset c.1830–40 Canvas Print
Rolled • 12x9 inches

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Compact Size

The Scarlet Sunset c.1830–40 Canvas Print
Rolled • 18x13 inches

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The Scarlet Sunset c.1830–40 Canvas Print
Wrapped • 12x9 inches

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Compact Size

Compact Size

The Scarlet Sunset c.1830–40 Canvas Print
Wrapped • 18x13 inches

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Small Size

Small Size

The Scarlet Sunset c.1830–40 Canvas Framed Print
Framed • 12x9 inches

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Compact Size

Compact Size

The Scarlet Sunset c.1830–40 Canvas Framed Print
Framed • 18x13 inches

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Small Size

The Scarlet Sunset c.1830–40 Framed Print
Framed With Mat • 12x9 inches

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The Scarlet Sunset c.1830–40 Framed Print
Framed With Mat • 18x13 inches

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This composition is painted with a limited range of colors, arranged to give strong contrasts between primary colors. It also incorporates the pale blue wove paper so that it makes a significant contribution to the image. Artists who try to copy a Turner watercolor in order to understand his methods often seem to be drawn to this work, and a description of one way to go about it, using modern materials, has recently been published. For the pale bluish grey paint used for the bridge and buildings, Turner used lead white and a little natural ultramarine, painted onto dry paper and left to dry. This paint conceals the paper color, but all the later washes are transparent, and allow the blue to shine through. In the gaps between washes, the paper acts as a blue tone in the composition. For the sunset, Turner used vermilion and chrome yellow. The red and yellow washes overlap only in the water, which has a fuzzy reflection of the pure yellow sun, itself painted into a reserve deliberately in the red paint of the sunset, and overlapping some red paint. This would be successful only with very opaque pigments such as these.

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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