The Battle of Trafalgar, 21 October 1805 is an 1822 painting by British artist J. M. W. Turner. It was commissioned by King George IV as a part of a series of works to decorate three state reception rooms in St James's Palace and link the Hanoverian dynasty with military success. [1] This work was Turner's only royal commission, and was to stand as the pendant piece to Philippe-Jacques de Loutherbourg's Lord Howe's action, or the Glorious First of June . [1] This massive history painting measures 2,615 millimetres (8 ft 6+15⁄16 in) x 3,685 millimetres (12 ft 1+1⁄16 in) and is his largest work. [1] It was given to Greenwich Hospital shortly after its original installation. The painting now hangs in the National Maritime Museum, also in Greenwich, London.
This work depicts a scene from the Battle of Trafalgar, a naval battle fought between the British and Franco-Spanish fleet off Cape Trafalgar in southwest Spain. The British had twenty-seven ships to the thirty-three of the Franco-Spanish fleet. Despite this, the British came out as decisively victorious and captured or destroyed nineteen of the Franco-Spanish ships. [2] Admiral Nelson, of the British Navy, took an unconventional approach to this battle and split his fleet into two lines, one led by his flagship Victory and the other by his subordinate Collingwood, to attack the Franco-Spanish fleet in columns perpendicular to their line. [3] At the height of the battle Nelson was shot from a nearby French ship and mortally wounded. Despite this upsetting death, the victory at Trafalgar represented a crucial naval victory for the British. Their dominance effectively established them as the great naval power and ended Napoleon’s plans to conquer England. The significance of this battle for British history cannot be overstated. Afterwards, many citizens called for a government commissioned work of art depicting the battle. This reflected the role of the history painting and the artist by demonstrating the virtue of the hero, Lord Nelson, to the entire nation. [4] The importance of Nelson and his tactics are referenced in Victory's dominating position in the scene, the execution as a history painting, and Turner's care in rendering all elements of the scene.
A history painting is traditionally defined as a large-scale work depicting a scene from the Bible, mythology, or classical history. Generally regarded as the height of artistic genres, Turner recognizes this and paints The Battle of Trafalgar as a history painting depicting a contemporary event and as a patchwork scene composed of different moments portrayed as being simultaneous. Turner knows the importance of this genre and employs it to further the significance of the contemporary scene. This action firmly cements the work as being of great national significance and affirms Britain as a great maritime power. [5] In the pursuit of these ideals and significance, Turner took several moments from the battle, across several days, and merged them into one moment in one scene. [1] This then represents Turner's desire to take the battle and use it to create something of general, philosophical, and national significance. This aspect, along with the pyramidal composition reference triumph and sacrifice reaffirm this work's place as a history painting, despite it not depicting one scene from ancient history, religion, or mythology. [6]
The realism of the scene is visible in the flags of the masts, which deliver part of the famous message England expects that every man will do his duty...
The British were attempting to establish themselves as a major maritime power; with their victory in this battle they were successful and with this painting that becomes evident. Turner had a great deal of personal interest and investment in this work and with the history of the Battle of Trafalgar in general. Turner made several sketches immediately after the battle, careful studies of the ships and their rigging, and close details of the uniforms. [7] The most notable of these early works was The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory. This work was well received and provided the foundation from which Turner would develop Trafalgar into a scene representing an overall account of the whole battle. [7] This earlier depiction is closer to Turner’s style in that it leans away from traditional maritime paintings and more toward the ambiguity and sublime that Turner would later be known for. In preparation for Trafalgar Turner created two preparatory oil sketches, with the First Sketch for ‘The Battle of Trafalgar’ aligning its composition with the traditional maritime paintings. [7] The Second Sketch for ‘The Battle of Trafalgar’ moves away from this traditional style and more closely resembles his final product with a more organized chaos via the build-up of clouds and people in the foreground. Despite this work being a commission, Turner chooses to depict the final work in a style that moves away from conventional practices and closer to his original work and personal style further indicating his personal connection with Trafalgar. [8] While the subject of the piece is evident, there are elements of ambiguity suggesting the sublime, the dissolution of space via strokes of pure paint, and the symmetry between human and natural forces.
The Battle of Trafalgar was a naval engagement that took place on 21 October 1805 between the British Royal Navy and the combined fleets of the French and Spanish Navies during the War of the Third Coalition of the Napoleonic Wars (1803–1815).
Joseph Mallord William Turner, known in his time as William Turner, was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colouring, imaginative landscapes and turbulent, often violent marine paintings. He left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 works on paper. He was 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.
"England expects that every man will do his duty" was a signal sent by Vice-Admiral of the Royal Navy Horatio Nelson, 1st Viscount Nelson from his flagship HMS Victory as the Battle of Trafalgar was about to commence on 21 October 1805.
HMS Agamemnon was a 64-gun third-rate ship of the line of the British Royal Navy. She saw service in the American Revolutionary War, French Revolutionary, and Napoleonic Wars and fought in many major naval battles. She is remembered as Horatio Nelson's favourite ship, and she was named after the mythical ancient Greek king Agamemnon, the first ship of the Royal Navy to bear the name.
HMS Royal Sovereign was a 100-gun first-rate ship of the line of the Royal Navy, which served as the flagship of Admiral Collingwood at the Battle of Trafalgar. She was the third of seven Royal Navy ships to bear the name. She was launched at Plymouth Dockyard on 11 September 1786, at a cost of £67,458, and was the only ship built to her design. Because of the high number of Northumbrians on board the crew were known as the Tars of the Tyne.
HMS Temeraire was a 98-gun second-rate ship of the line of the United Kingdom's Royal Navy. Launched in 1798, she served during the French Revolutionary and Napoleonic Wars, mostly on blockades or convoy escort duties. She fought only one fleet action, the Battle of Trafalgar, but became so well known for that action and her subsequent depictions in art and literature that she has been remembered as The Fighting Temeraire.
In the Battle of Cape Finisterre off Galicia, Spain, the British fleet under Admiral Robert Calder fought an indecisive naval battle against the combined Franco-Spanish fleet which was returning from the West Indies. In the ensuing battle the British captured two Spanish ships of the line, but failed to prevent the joining of French Admiral Pierre de Villeneuve's fleet to the squadron of Ferrol and to strike the shattering blow that would have freed Great Britain from the danger of an invasion. Calder was later court-martialled and severely reprimanded for his failure and for avoiding the renewal of the engagement on 23 and 24 July. At the same time, in the aftermath Villeneuve elected not to continue on to Brest, where his fleet could have joined with other French ships to clear the English Channel for an invasion of Great Britain.
HMS Minotaur was a 74-gun third-rate ship of the line of the Royal Navy launched on 6 November 1793 at Woolwich. She was named after the mythological bull-headed monster of Crete. She fought in three major battles – Nile, Trafalgar, and Copenhagen (1807) – before she was wrecked, with heavy loss of life, in December 1810.
Neptune was a Bucentaure-class 80-gun ship of the line of the French Navy. Built during the last years of the French Revolutionary Wars she was launched at the beginning of the Napoleonic Wars. Her brief career with the French included several major battles, though she spent the last 12 years of her life under the Spanish flag.
Achille was a Téméraire-class 74-gun French ship of the line built at Rochefort in 1803 after plans by Jacques-Noël Sané.
The Fighting Temeraire, tugged to her last berth to be broken up, 1838 is an oil-on-canvas painting by the English artist Joseph Mallord William Turner, painted in 1838 and exhibited at the Royal Academy in 1839.
The Slave Ship, originally titled Slavers Throwing overboard the Dead and Dying—Typhon coming on, is a painting by the British artist J. M. W. Turner, first exhibited at The Royal Academy of Arts in 1840.
Horatio Nelson, 1st Viscount Nelson, 1st Duke of Bronté, was one of the leading British flag officers in the Royal Navy of the French Revolutionary and Napoleonic Wars, responsible for several important victories over the French and Spanish navies during a time of crisis for the country. He was widely lauded for his success, and praised for his skill and daring. After his death during the Battle of Trafalgar, he became revered as a British hero, and his fame reached new heights. Large numbers of monuments and memorials have been created in his honour, and he has continued to influence British culture and society.
The Trafalgar campaign was a long and complicated series of fleet manoeuvres carried out by the combined French and Spanish fleets; and the opposing moves of the Royal Navy during much of 1805. These were the culmination of French plans to force a passage through the English Channel, and so achieve a successful invasion of the United Kingdom. The plans were extremely complicated and proved to be impractical. Much of the detail was due to the personal intervention of Napoleon, who as a soldier rather than a sailor failed to consider the effects of weather, difficulties in communication, and the Royal Navy. Despite limited successes in achieving some elements of the plan the French commanders were unable to follow the main objective through to execution. The campaign, which took place over thousands of miles of ocean, was marked by several naval engagements, most significantly at the Battle of Trafalgar on 21 October, where the combined fleet was decisively defeated, and from which the campaign takes its name. A final mopping up action at the Battle of Cape Ortegal on 4 November completed the destruction of the combined fleet, and secured the supremacy of the Royal Navy at sea.
HMS Victory is a 104-gun first-rate ship of the line of the Royal Navy. She was ordered in 1758, laid down in 1759, and launched in 1765. With 246 years of service as of 2024, she is the world's oldest naval vessel still in commission.
Ulysses Deriding Polyphemus is an 1829 oil painting by Joseph Mallord William Turner. It depicts a scene from Homer's Odyssey, showing Odysseus (Ulysses) standing on his ship deriding Polyphemus, one of the cyclopes he encounters and has recently blinded, who is disguised behind one of the mountains on the left side. Additional details include the Trojan Horse, a scene from Virgil's Aeneid, on one of the flags and the horses of Apollo rising above the horizon. This painting is thought to be quickly done as a replacement for previous paintings submitted to the Academy that had been delayed. The painting was exhibited at the Royal Academy of Arts in 1829. Acquired by the National Gallery in 1856, the painting is on display in room 34.
Snow Storm, or Snow Storm: Steam-Boat off a Harbour's Mouth, is a painting by English artist Joseph Mallord William Turner (1775–1851) from 1842.
Fishermen at Sea, sometimes known as the Cholmeley Sea Piece, is an early oil painting by English artist J. M. W. Turner. It was exhibited at the Royal Academy in 1796 and has been owned by the Tate Gallery since 1972. It was the first oil painting by Turner to be exhibited at the Royal Academy. It was praised by contemporary critics and burnished Turner's reputation, both as an oil painter and as a painter of maritime scenes.
The Battle of Trafalgar is a lost 1911 American silent docudrama film that portrayed the 1805 victory of Great Britain’s Royal Navy over the combined naval forces of France and Spain during the Napoleonic Wars. The death of British Vice-Admiral Horatio Nelson in that decisive sea battle was also depicted in this "one-reeler", which was directed by J. Searle Dawley and produced by Thomas A. Edison, Inc. The film starred Sydney Booth with Herbert Prior, James Gordon, Charles Ogle, and Laura Sawyer in supporting roles.
Peace – Burial at Sea is a painting in oils on canvas by the English Romantic artist J. M. W. Turner (1775–1851), first exhibited in 1842. The work is a memorial tribute to Turner's contemporary the Scottish painter Sir David Wilkie (1786–1841). The canvas depicts Wilkie's burial at sea. This work was intended as a companion piece to War. The Exile and the Rock Limpet which alludes to the sordid demise of the former Emperor of France Napoleon Bonaparte. The two works are characterized by sharply contrasting colors and tones: War utilizes a strident yellow and red while Peace is painted a cool blend of white, blue and black.