Chapter 5

CHAPTER SUMMARY

Our Picture

0. Squall at St Vincent's Rock, Bristol

• Evidence that the location of the scene depicted is St. Vincent's Rock, Bristol
• Evidence that JMW Turner's early oils are substantially different from his later oils
• Evidence that the rock complex in this landscape was invented by JMW Turner
• Evidence that this picture was painted by JMW Turner or someone working closely with him

The Lost Rising Squall & The Lost View on the River Avon'

1. 'The rising squall, hot wells, from St. Vincent's rock, Bristol'

• To determine its viewpoint and content
• Evidence that it is an oil exhibited in 1793
• Evidence that it is a canvas

2. 'The rising squall, hot wells, from St. Vincent's rock, Bristol'

• A mistake in the 1793 catalogue by transposition of titles
• Its position in the Anti-Room (sic) in 1793

3. 'The rising squall, hot wells, from St. Vincent's rock, Bristol'

• The Redgrave Sequence
• The Mistake By CF Bell In 1901*

4. Loss of the Identity of 'The Rising Squall'

• Identity of the Two 1793 'St. Vincent's Rock' Titles
• How the Bristol Watercolour became Identified as 'The Rising Squall'
• How the Tate Gallery Catalogued 'The Rising Squall' and 'View on the River Avon'

The Context - Turners 1792 and 1793 Exhibits