Joseph Mallord William Turner, 1839 - Modern Rome - Campo Vaccine - fine art print

"Modern Rome - Campo Vaccine" painted by the Romanticist artist Joseph Mallord William Turner as your personal artprint

The 19th century work of art was painted by Joseph Mallord William Turner in 1839. The version of the work of art was painted with the size: 91,8 x 122,6 cm. Oil on canvas was applied by the British artist as the technique for the artpiece. Nowadays, this artpiece can be viewed in in the The J. Paul Getty Museum's digital collection. We are glad to state that the public domain work of art is supplied with courtesy of The J. Paul Getty Museum.Besides, the artpiece has the creditline: . In addition to that, the alignment is landscape with a side ratio of 4 : 3, which implies that the length is 33% longer than the width. The painter Joseph Mallord William Turner was a European artist from the United Kingdom, whose artistic style can be classified as Romanticism. The Romanticist painter lived for a total of 76 years and was born in the year 1775 in London, Greater London, England, United Kingdom and passed away in the year 1851.

Choose your product material

We offer a range of different sizes and materials for every product. Hence, we allow you to choose among the following options:

• Aluminium dibond print (metal): An Aluminium Dibond print is a print material with an impressive depth. The non-reflective surface creates a fashionable look. The bright & white parts of the original artwork shine with a silk gloss but without any glare. The print on Aluminum Dibond is one of the most popular entry-level products and is a truly stylish way to display art prints, because it puts the viewer’s focus on the image.
• The canvas print: The UV printed canvas applied on a wooden frame. Canvas prints are relatively low in weight. This means, it is easy and straightforward to hang the Canvas print without any wall-mounts. A canvas print is suitable for any type of wall.
• The poster print (canvas material): The poster is a UV printed cotton canvas with a slight structure on the surface, which reminds the actual masterpiece. Please note, that depending on the absolute size of the poster we add a white margin of something between 2-6cm round about the print, which facilitates the framing with your custom frame.
• The glossy acrylic glass print (with real glass coating): An acrylic glass print, often denoted as a plexiglass print, will change the original work of art into beautiful décor. The major benefit of a plexiglass fine art print is that contrasts as well as artwork details will be more exposed thanks to the subtle tonal gradation in the print.

Legal disclaimer: We try our utmost to depict the products as accurate as we can and to demonstrate them visually in our shop. Nonetheless, the pigments of the printed materials, as well as the printing may differ marginally from the presentation on the device's monitor. Depending on the screen settings and the quality of the surface, color pigments may not be printed one hundret percent realistically. In view of the fact that the art prints are processed and printed manually, there may as well be minor differences in the size and exact position of the motif.

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Ten years after his final journey to Rome, Turner envisioned the Eternal City through a veil of memory. Baroque churches and ancient monuments in and around the Roman Forum seem to dissolve in iridescent light shed by a moon rising at left and a sun setting behind the Capitoline Hill at right. Amidst these splendors, the city's inhabitants carry on with their daily activities. The picture's nacreous palette and shimmering light effects exemplify Turner at his most accomplished.

When first exhibited at the Royal Academy in 1839 with its pendant, Ancient Rome; Agrippina Landing with the Ashes of Germanicus, the painting was accompanied by a modified quotation from Lord Byron's masterpiece, Childe Harold's Pilgrimage (1818): "The moon is up, and yet it is not night, / The sun as yet divides the day with her." Like the poem, Turner's painting evokes the enduring sublimity of Rome, which had been for artists throughout history less a place in the real world than one in the imagination.

The painting is in a remarkable state of preservation and remains untouched since it left Turner's hands.