Introduction by IAN WARRELL Some further reading, p. 38 Selections from The Life and Correspondence of J. M. W. Turner, WALTER THORNBURY The Curtain Rises, p. 41 Maiden Lane, Covent Garden (London vs Venice), p. 45 Early Ambitions, p. 47 Brentford: The Country Eden, p.
48 Margate, p. 49 Architects and Blue Skies, p. 49 The Royal Academy, p. 51 First Tour to Bristol, 1791, p. 52 First Painting in Oils, p. 53 Turner and Girtin at Dr Thomas Monro's 'academy', p. 55 Thomas Girtin (1775-1802), p. 56 Embarking on Travels in England, p.
59 Turner Portraits, 1800, p. 62 Summary of Turner's Art Life, p. 64 Vandervelde's Rival, 1801, p. 65 The First Foreign Tour, p. 69 The Shipwreck, p. 72 Turner's Liber Studiorum, p. 73 Claude and the Liber, p. 77 John Dillon on the Liber, p.
82 Appreciations of Turner's Early Paintings, p. 83 Teaching Perspective, p. 88 Turner and Poetry, p. 90 Walter Fawkes (1769-1825), p. 91 Devon and Plein Air Painting (1811-14), p. 100 Pictures of Nothing: Turner and the Critics, p. 105 Sandycombe Lodge, p. 108 The Yorkshire Frost, p.
112 Carthage and Claude, p. 114 The Old Masters, p. 120 Cuyp and Turner, p. 121 Work for the Engravers, p. 125 Italy 1819, p. 129 Plagiarism, p. 132 Bay of Baiæ, p. 133 Working to Order--Sights Unseen, p.
136 Varnishing Days (1): The Black Cloud, p. 137 Fishing, p. 141 Petworth, Sussex, p. 144 Floating Carrots, p. 146 Chantrey's Trick, p. 146 Francis Chantrey, p. 148 Rome 1828, p. 149 The Polyphemus, p.
153 Death of William Turner Senior, p. 159 The Benevolent Hoarder [row of 1829], p. 160 Engraving on Steel, p. 162 Turner in Scott-land, p. 168 Varnishing Days (2): Constable vs Turner, p. 173 Constable, p. 179 Varnishing Days (3): George Jones, p. 180 Chantrey and the Fire Office, p.
186 New Patrons, p. 186 The Money Spider, p. 187 Varnishing Days (4): A Venetian Painting, p. 189 Varnishing Days (5): The Burning of the Houses of Parliament, p. 192 Indifferent, p. 197 Travelling with H. A. J.
Munro, 1836, p. 199 The Old Temeraire, p. 204 Later Travels, p. 210 The Slave Ship, p. 213 Mr Ruskin and Modern Painters, p. 214 Soapsuds and White-wash, p. 215 A Critic Chastened, p. 219 Wider Criticisms, p.
220 The Gallery on Queen Anne Street in the 1840s, p. 223 James Astbury Hammersley's Visit to the Gallery in 1844, p. 224 Frustrated Hopes, p. 227 Turner's Prices, p. 228 Last Works, p. 233 Drawn into Society, p. 235 John Jabez Edwin Mayall and Photography, p. 237 Twilight at Chelsea, p.
241 The Last Sunshine, p. 248 The Empty Gallery, p. 249 Turner's Painting Room, p. 251 The Grand Funeral, p. 255 Old Mortality: An Assessment, p. 259 List of illustrations, p. 268 Note on the text, p. 272.