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"Keelmen soulevant des charbons au clair de lune"
William Turner - Huile sur toile - 92 x 123 cm - 1835 - National Gallery of Art, Washington, DC
William Turner est généralement considéré comme le fondateur de la peinture moderne, anticipant l'impressionnisme et même l'art abstrait avec son intérêt pour l'observation directe, les effets de lumière et la capture d'aspects de la vie contemporaine. Depuis son inscription à la Royal Academy of Art à un jeune âge, il se consacre à la peinture de paysage, s'inspirant des peintres hollandais et français du XVIIe siècle tout en cherchant à élever le statut de ce genre. Ses premières commandes importantes étaient pour des aquarelles architecturales et topographiques, un médium dans lequel il a beaucoup travaillé, bien qu'à l'époque la peinture à l'huile était la plus appréciée. Turner exposa à la Royal Academy à partir de 1790, et en 1796 envoya sa première huile signalant ses ambitions plus larges en tant que peintre. Au cours des années suivantes, ses œuvres se sont diversifiées dans l'histoire, la littérature et le mythe, défiant les styles des maîtres anciens. Finalement, il ouvre sa galerie privée à Londres, où il peut librement expérimenter et promouvoir sa vision singulière. Ses diverses tournées à travers l'Europe ont abouti à une richesse de matériel allant des croquis au crayon sur place aux études colorées qui ont contribué au développement de son style.
Les changements sociaux apportés par la révolution industrielle anglaise ont captivé et inspiré Turner, mais pas moins que la sublimité de la nature. Keelmen Heaving in Coals by Moonlight capture et juxtapose ces deux thèmes. Représenté est la rivière Tyne dans son passage à Shields, une ville en aval de Newcastle qui était au 19ème siècle un grand fournisseur de charbon pour Londres et maison à la fabrication de verre et de fer. Les cheminées enflammées de l'industrie ont transformé les vues marines et terrestres de l'Angleterre, et les polluants qu'elles ont émis ont peut-être contribué à la qualité réfractée et chatoyante de la lumière capturée par Turner dans cette peinture. La lueur irisée et nocturne de la lune et une sensation de calme imprègnent l'atmosphère de l'image. Des bouées et des pédalos flottent tranquillement dans l'eau, contrairement aux ouvriers qui entretiennent les bateaux ancrés dans le port sous des braseros enflammés et un nuage de suie sur les bords du tableau, suggérant un paysage encore plus étendu d'une industrie qui s'étend à perte de vue répondre aux exigences d'une économie en croissance.
Bien que Turner ait cherché à transformer l'acte de peindre, il a également activement recherché l'approbation de ses pairs et du public, ce qu'il a finalement apprécié car son style lâche et romantique coïncidait avec le rejet britannique des styles de peinture français très raffinés et classiques qui avaient a dominé les goûts européens au siècle précédent. En 1802, il a été nommé académicien royal à part entière en 1802, devenant ainsi le plus jeune artiste à être ainsi honoré.
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