Art Turner (Illinois Politician) Wiki, Biography, Age, Wife, Family, Net Worth

Art Turner Wiki,Biography, Net Worth

Art Turner is a Democratic member of the Illinois House of Representatives who serves as a representative for the 9th district. The district he represents includes part of the community areas of the Near West Side, the Near North Side and North Lawndale.

Explore Art Turner Wiki Age, Height, Biography as Wikipedia, Wife, Family relation. There is no question Art Turner is the most famous & most loved celebrity of all the time, Find out how much net worth Art has this year and how he spent his expenses. Also find out how he got rich at the age of 39. he also best known on Social media accounts as Twitter, Facebook, Instagram, Wikipedia and much more. he has a pure loving kind heart personality. Scroll Down and find everything about the Art Turner.

Art Turner Wiki – Art Turner Biography

First Name Art
Name Art Turner
Complete Family Name Art Turner
Date of Birth July 17, 1982
Birth Day July 17
Birth Years 1982
Birth Place North Lawndale, Chicago
Birth City North Lawndale
Birth Country United States of America
Nationality American
Famous As Politician
Also Known for Politician
Occupation Politician
Years active
Started Career In

Art Turner, better known by the Family name Art Turner, is a popular Politician. he was born on July 17, 1982, in North Lawndale, Chicago.North Lawndale is a beautiful and populous city located in North Lawndale, Chicago United States of America.

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Art Turner Net Worth

Art Turner has a net worth of $5.00 million which he earned from his occupation as Politician. Popularly known as the Politician of United States of America. Art Turner is seen as one of the most successful Politician of all times. Art Turner Net Worth & Basic source of earning is being a successful American Politician. Art is a French Millionaire who is one of the rich person in the field of Politician with a net worth of $5.00 Million.

Art Turner entered the career as Politician In his early life after completing his formal education Art Turner, who brings in a net worth of $3 million and $5 million Art Turner collected most of his earnings from Politician. one of the greatest celebrity cashiers of all time. his main source of his net worth being a successful Politician.

Art Turner Net Worth

Estimated Net Worth in 2022 $1 Million to $5 Million Approx
Previous Year’s Net Worth (2021) Being Updated
Annual Salary Being Updated
Income Source Politician

Art Turner Social Media

Born on July 17, 1982, the Politician Art Turner is arguably the world’s most influential on social media. Art Turner taking action to drive the change they want to see in the world. Art is an outstanding celebrity influencer. With his large number of social media fans, he often posts lots of personal photos and videos to interact with his huge fan base social media platform. What he Likes to share on social Media. personal touch and engage with his followers. Please scroll down. For information about Art Turner Social media profiles.

Art Turner Social Media Profiles and Accounts

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Art Turner Life Story & Timeline

2020

The Bank of England announced that a portrait of Turner, with a backdrop of The Fighting Temeraire, would appear on the £20 note beginning in 2020. It is the first £20 British banknote printed on polymer. It came into circulation on Thursday 20 February 2020.

2014

British filmmaker Mike Leigh wrote and directed Mr. Turner, a biopic of Turner’s later years, released in 2014. The film starred Timothy Spall as Turner, Dorothy Atkinson, Marion Bailey and Paul Jesson, and premiered in competition for the Palme d’Or at the 2014 Cannes Film Festival, with Spall taking the award for Best Actor.

2013

In Turner’s later years he used oils ever more transparently and turned to an evocation of almost pure light by use of shimmering colour. A prime example of his mature style can be seen in Rain, Steam and Speed – The Great Western Railway, where the objects are barely recognisable. The intensity of hue and interest in evanescent light not only placed Turner’s work in the vanguard of English painting but exerted an influence on art in France; the Impressionists, particularly Claude Monet, carefully studied his techniques.

Rain, Steam and Speed – The Great Western Railway, 1844, oil on canvas, National Gallery

2011

In January 2011 The Painter, a biographical play on his life by Rebecca Lenkiewicz, premiered at the Arcola Theatre in London.

2003

Selby Whittingham founded The Turner Society at London and Manchester in 1975. After the society endorsed the Tate Gallery’s Clore Gallery wing (on the lines of the Duveen wing of 1910), as the solution to the controversy of what should be done with the Turner Bequest, Selby Whittingham resigned and founded the Independent Turner Society. The Tate created the prestigious annual Turner Prize art award in 1984, named in Turner’s honour, and 20 years later the Royal Institute of Painters in Water Colours founded the Winsor & Newton Turner Watercolour Award. A major exhibition, “Turner’s Britain”, with material (including The Fighting Temeraire) on loan from around the globe, was held at Birmingham Museum and Art Gallery from 7 November 2003 to 8 February 2004. In 2005, Turner’s The Fighting Temeraire was voted Britain’s “greatest painting” in a public poll organised by the BBC.

1999

St. Mary’s Church, Battersea added a commemorative stained glass window for Turner, between 1976 and 1982. St Paul’s Cathedral, Royal Academy of Arts and Victoria & Albert Museum all hold statues representing him. A portrait by Cornelius Varley with his patent graphic telescope (Sheffield Museums & Galleries) was compared with his death mask (National Portrait Gallery, London) by Kelly Freeman at Dundee University 2009–10 to ascertain whether it really depicts Turner. The city of Westminster unveiled a memorial plaque at the site of his birthplace at 21 Maiden Lane, Covent Garden 2 June 1999.

1974

Leo McKern played Turner in The Sun is God, a 1974 Thames Television production directed by Michael Darlow. The programme aired on 17 December 1974, during the Turner Bicentenary Exhibition in London.

1930

Turner experimented with a wide variety of pigment. He used pigments like carmine, despite knowing that they were not long-lasting, and against the advice of contemporary experts to use more durable pigments. As a result, many of his colours have now faded. Ruskin complained at how quickly his work decayed; Turner was indifferent to posterity and chose materials that looked good when freshly applied. By 1930, there was concern that both his oils and his watercolours were fading.

1910

In 1910, the main part of the Turner Bequest, which includes unfinished paintings and drawings, was rehoused in the Duveen Turner Wing at the National Gallery of British Art (now Tate Britain). In 1987, a new wing at the Tate, the Clore Gallery, was opened to house the Turner bequest, though some of the most important paintings remain in the National Gallery in contravention of Turner’s condition that they be kept and shown together. Increasingly paintings are lent abroad, ignoring Turner’s provision that they remain constantly and permanently in Turner’s Gallery.

1856

Turner left a small fortune which he hoped would be used to support what he called “decayed artists”. He planned an almshouse at Twickenham with a gallery for some of his works. His will was contested and in 1856, after a court battle, his first cousins, including Thomas Price Turner, received part of his fortune. Another portion went to the Royal Academy of Arts, which occasionally awards students the Turner Medal. His finished paintings were bequeathed to the British nation, and he intended that a special gallery would be built to house them. This did not happen due to disagreement over the final site. Twenty-two years after his death, the British Parliament passed an act allowing his paintings to be lent to museums outside London, and so began the process of scattering the pictures which Turner had wanted to be kept together.

1851

Turner died of cholera at the home of Sophia Caroline Booth, in Cheyne Walk in Chelsea, on 19 December 1851. He is buried in St Paul’s Cathedral, where he lies near to Sir Joshua Reynolds. Apparently his last words were “The Sun is God”, though this may be apocryphal.

1845

Norham Castle, Sunrise, c. 1845, oil on canvas, Tate Britain

Whalers, c. 1845, oil on canvas, Metropolitan Museum of Art

Page of The Channel Sketchbook, c. 1845, graphite and watercolor on medium, slightly textured, Yale Center for British Art

1843

The Evening of the Deluge, c. 1843, National Gallery of Art

1842

Snow Storm: Steam-Boat off a Harbour’s Mouth, c. 1842, oil on canvas, Tate Britain

The Blue Rigi, 1842, watercolor on paper, Tate Gallery

1840

He left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 works on paper. 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 rivalling history painting.

The Slave Ship, 1840, oil on canvas, Museum of Fine Arts, Boston

1839

The Rham Plateau, Luxembourg, from the Alzette Valley c. 1839, watercolor on paper, Tate Britain

1838

Turner was a habitual user of snuff; in 1838, Louis Philippe I, King of the French presented a gold snuff box to him. Of two other snuffboxes, an agate and silver example bears Turner’s name, and another, made of wood, was collected along with his spectacles, magnifying glass and card case by an associate housekeeper.

The Fighting Temeraire tugged to her last berth to be broken up, 1838, oil on canvas, National Gallery

1836

Wreckers Coast of Northumberland, c. 1836, oil on canvas, Yale Center for British Art

Valley of Aosta: Snowstorm, Avalanche and Thunderstorm, 1836–37, oil on canvas, Art Institute of Chicago

1835

Venice, from the Porch of Madonna della Salute, c. 1835, oil on canvas, Metropolitan Museum of Art

The Burning of the Houses of Lords and Commons, c. 1835, oil on canvas, Philadelphia Museum of Art

1834

Turner’s imagination was sparked by shipwrecks, fires (including the burning of Parliament in 1834, an event which Turner witnessed first-hand, and transcribed in a series of watercolour sketches), and natural phenomena such as sunlight, storm, rain, and fog. He was fascinated by the violent power of the sea, as seen in Dawn after the Wreck (1840) and The Slave Ship (1840).

1830

Burning Ship, c. 1830, watercolor on paper, Tate Britain

1829

As Turner grew older, he became more eccentric. He had few close friends except for his father, who lived with him for 30 years and worked as his studio assistant. His father’s death in 1829 had a profound effect on him, and thereafter he was subject to bouts of depression. He never married but had a relationship with an older widow, Sarah Danby (1760 or 1766 (christened) –1861). He is believed to have been the father of her two daughters Evalina Dupois (1801–1874) and Georgiana Thompson (1811–1843).

Nantes from the Ile Feydeau, c. 1829–30, watercolor on paper, Château des ducs de Bretagne

1828

Shipping, c. 1828–30, watercolor on paper, Yale Center for British Art

1827

Italian Landscape with Bridge and Tower, c. 1827, oil on canvas, Tate Britain

1820

Sea View, c. mid-1820s, watercolor and gouache on blue paper, Scottish National Gallery

1817

Raby Castle, the Seat of the Earl of Darlington, 1817, oil on canvas, 119 x 180 cm. One of Turner’s most successful “house portraits”, Walters Art Museum

1816

High levels of volcanic ash (from the eruption of Mt. Tambora) in the atmosphere during 1816, the “Year Without a Summer”, led to unusually spectacular sunsets during this period, and were an inspiration for some of Turner’s work.

1812

Snow Storm: Hannibal and his Army Crossing the Alps, 1812, oil on canvas, Tate Britain

1810

The Wreck of a Transport Ship, c. 1810, oil on canvas Calouste Gulbenkian Museum

Ingleborough from Chapel-Le-Dale, c. 1810–15, watercolor Yale Center for British Art

1806

Turner’s major venture into printmaking was the Liber Studiorum (Book of Studies), seventy prints that he worked on from 1806 to 1819. The Liber Studiorum was an expression of his intentions for landscape art. The idea was loosely based on Claude Lorrain’s Liber Veritatis (Book of Truth), where Lorrain had recorded his completed paintings; a series of print copies of these drawings, by then at Devonshire House, had been a huge publishing success. Turner’s plates were meant to be widely disseminated, and categorised the genre into six types: Marine, Mountainous, Pastoral, Historical, Architectural, and Elevated or Epic Pastoral. His printmaking was a major part of his output, and a museum is devoted to it, the Turner Museum in Sarasota, Florida, founded in 1974 by Douglass Montrose-Graem to house his collection of Turner prints.

1802

Turner traveled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year. He made many visits to Venice. Important support for his work came from Walter Ramsden Fawkes of Farnley Hall, near Otley in Yorkshire, who became a close friend of the artist. Turner first visited Otley in 1797, aged 22, when commissioned to paint watercolours of the area. He was so attracted to Otley and the surrounding area that he returned to it throughout his career. The stormy backdrop of Hannibal Crossing The Alps is reputed to have been inspired by a storm over the Chevin in Otley while he was staying at Farnley Hall.

1801

Intensely private, eccentric and reclusive, Turner was a controversial figure throughout his career. He did not marry, but fathered two daughters, Eveline (1801–1874) and Georgiana (1811–1843), by his housekeeper Sarah Danby. He became more pessimistic and morose as he got older, especially after the death of his father, after which his outlook deteriorated, his gallery fell into disrepair and neglect, and his art intensified. In 1841 Turner rowed a boat into the Thames so he could not be counted as present at any property. He lived in squalor and poor health from 1845, and died in London in 1851 aged 76. Turner is buried in Saint Paul’s Cathedral, London.

Calais Pier, 1801, oil on canvas, National Gallery

Dutch Boats in a Gale, 1801, oil on canvas. For his painting Turner drew inspiration from the art of Willem van de Velde the Younger

1798

Turner formed a relationship with Sophia Caroline Booth (1798–1875) after her second husband died, and he lived for about 18 years as “Mr Booth” in her house in Chelsea.

1796

In 1796, Turner exhibited Fishermen at Sea, his first oil painting for the academy, of a nocturnal moonlit scene of the Needles off the Isle of Wight, an image of boats in peril. Wilton said that the image: “Is a summary of all that had been said about the sea by the artists of the 18th century”. and shows strong influence by artists such as Claude Joseph Vernet, Philip James de Loutherbourg, Peter Monamy and Francis Swaine, who was admired for his moonlight marine paintings. This particular painting cannot be said to show any influence of Willem van de Velde the Younger, as not a single nocturnal scene is known by that painter. Some later work, however, was created to rival or complement the manner of the Dutch artist. The image was praised by contemporary critics and founded Turner’s reputation, as both an oil painter and a painter of maritime scenes.

1795

Turner’s early works, such as Tintern Abbey (1795), stay true to the traditions of English landscape. In Hannibal Crossing the Alps (1812), an emphasis on the destructive power of nature has already come into play. His distinctive style of painting, in which he used watercolour technique with oil paints, created lightness, fluency, and ephemeral atmospheric effects.

1793

Clare Hall and the West end of King’s College Chapel, Cambridge, 1793, watercolor on paper, Yale Center for British Art

1792

Turner’s friend, the architect Philip Hardwick (1792–1870), son of his tutor, Thomas Hardwick, was in charge of making the funeral arrangements and wrote to those who knew Turner to tell them at the time of his death that, “I must inform you, we have lost him.” Other executors were his cousin and chief mourner at the funeral, Henry Harpur IV (benefactor of Westminster – now Chelsea & Westminster – Hospital), Revd. Henry Scott Trimmer, George Jones RA and Charles Turner ARA.

1790

As an academy probationer, Turner was taught drawing from plaster casts of antique sculptures. From July 1790 to October 1793, his name appears in the registry of the academy over a hundred times. In June 1792, he was admitted to the life class to learn to draw the human body from nude models. Turner exhibited watercolours each year at the academy while painting in the winter and travelling in the summer widely throughout Britain, particularly to Wales, where he produced a wide range of sketches for working up into studies and watercolours. These particularly focused on architectural work, which used his skills as a draughtsman. In 1793, he showed the watercolour titled The Rising Squall – Hot Wells from St Vincent’s Rock Bristol (now lost), which foreshadowed his later climatic effects. Cunningham in his obituary of Turner wrote that it was: “recognised by the wiser few as a noble attempt at lifting landscape art out of the tame insipidities…[and] evinced for the first time that mastery of effect for which he is now justly celebrated”.

1789

Turner was born in Maiden Lane, Covent Garden, London, to a modest lower-middle-class family. He lived in London all his life, retaining his Cockney accent and assiduously avoiding the trappings of success and fame. A child prodigy, Turner studied at the Royal Academy of Arts from 1789, enrolling when he was 14, and exhibited his first work there at 15. During this period, he also served as an architectural draftsman. He earned a steady income from commissions and sales, which due to his troubled, contrary nature, were often begrudgingly accepted. He opened his own gallery in 1804 and became professor of perspective at the academy in 1807, where he lectured until 1828, although he was viewed as profoundly inarticulate. He traveled to Europe from 1802, typically returning with voluminous sketchbooks.

Many early sketches by Turner were architectural studies or exercises in perspective, and it is known that, as a young man, he worked for several architects including Thomas Hardwick, James Wyatt and Joseph Bonomi the Elder. By the end of 1789, he had also begun to study under the topographical draughtsman Thomas Malton, specialised in London views. Turner learned from him the basic tricks of the trade, copying and colouring outline prints of British castles and abbeys. He would later call Malton “My real master”. Topography was a thriving industry by which a young artist could pay for his studies.

Turner entered the Royal Academy of Art in 1789, aged 14, and was accepted into the academy a year later by Sir Joshua Reynolds. Turner showed an early interest in architecture, but was advised by Thomas Hardwick to focus on painting. His first watercolour, A View of the Archbishop’s Palace, Lambeth was accepted for the Royal Academy summer exhibition of 1790 when Turner was 15.

1786

Around 1786, Turner was sent to Margate on the north-east Kent coast. There he produced a series of drawings of the town and surrounding area that foreshadowed his later work. By this time, Turner’s drawings were being exhibited in his father’s shop window and sold for a few shillings. His father boasted to the artist Thomas Stothard that: “My son, sir, is going to be a painter”. In 1789, Turner again stayed with his uncle who had retired to Sunningwell in Berkshire (now part of Oxfordshire). A whole sketchbook of work from this time in Berkshire survives as well as a watercolour of Oxford. The use of pencil sketches on location, as the foundation for later finished paintings, formed the basis of Turner’s essential working style for his whole career.

1785

Turner’s mother showed signs of mental disturbance from 1785 and was admitted to St Luke’s Hospital for Lunatics in Old Street in 1799 and was moved in 1800 to Bethlem Hospital, a mental asylum, where she died in 1804. Turner was sent to his maternal uncle, Joseph Mallord William Marshall, in Brentford, then a small town on the banks of the River Thames west of London. The earliest known artistic exercise by Turner is from this period—a series of simple colourings of engraved plates from Henry Boswell’s Picturesque View of the Antiquities of England and Wales.

1775

Joseph Mallord William Turner RA (23 April 1775 – 19 December 1851), known contemporarily as William Turner, was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colourisations, imaginative landscapes and turbulent, often violent marine paintings.

Joseph Mallord William Turner was born on 23 April 1775 and baptised on 14 May. He was born in Maiden Lane, Covent Garden, in London, England. His father, William Turner (1745 – 21 September 1829), was a barber and wig maker. His mother, Mary Marshall, came from a family of butchers. A younger sister, Mary Ann, was born in September 1778 but died in August 1783.