The Fighting Temeraire: Why JMW Turner’s greatest painting is so misunderstood
The National Gallery, London(Credit: The National Gallery, London)
As museums around the world celebrate the 250th birthday of JMW Turner, it’s time to reappraise his beloved and celebrated painting, The Fighting Temeraire.
JMW Turner’s The Fighting Temeraire became a national celebrity when it was first unveiled in 1839, and its fame has endured to the present day. It was once voted Britain’s favourite painting and currently features on £20 banknotes. But the widely accepted interpretation of this iconic painting’s message might, in fact, contradict Turner’s true intentions.
The “Temeraire” of the title refers to a 98-gun warship of the British Navy, which is depicted in the painting’s background. It was a hero in Britain’s defence against France during the Napoleonic Wars, but it caught the nation’s attention in 1838 when it was dismantled and its parts sold off. Turner’s painting depicts this once-mighty gladiator of the seas being towed down a burnished River Thames by a much more recently invented steam-powered tugboat.
A brief segment in the 2012 James Bond film Skyfall captures a popular view about the painting. In the scene, Bond (Daniel Craig) meets Q (Ben Whishaw), his new head of research and development, in London’s National Gallery, and they sit in front of The Fighting Temeraire. “It always makes me feel a little melancholy”, says the young, tech-savvy Q, in a pointed jibe to 007, an old-school field agent. “A grand old warship being ignominiously hauled away for scrap.”
This echoes the widely held belief that the painting evokes a sense of nostalgia and faded national glory. According to this view, the ghostly Temeraire is the painting’s heroine, and the tugboat its villain. In the 19th Century, the English writer William Makepeace Thackeray referred to the smaller vessel as “a little, spiteful, diabolical steamer” and the American novelist Herman Melville called it “a pygmy steam-tug” by comparison to the “Titan Temeraire”.
