Turning science into an art form.

Byline: ROBIN SIMON

Turner And The Scientists (Tate Gallery) Verdict: The art behind the artist *** Italy In The Age Of Turner (Dulwich Picture Gallery) Verdict: Italian gems ***

THINK of Turner and one thinks of luscious blobs of glowing colour, misty landscapes, sunshine and dancing light.

True enough, of course. But he was also Professor of Perspective at the Royal Academy. Those miracles of near-abstraction for which he is famous today were founded on the most rigorous academic principles of construction, and a rocklike solidity of composition.

It all looks so effortless and spontaneous. It was nothing of the sort.Turner's was the art that conceals art.

Turner filled to the letter the definition of genius as 'an infinite capacity for taking pains'. The astonishing freedom of the brush which he developed came from discipline, that spectacular display of colour from practice, practice and more practice: he left no fewer than 23,000 watercolour drawings to the nation.

It will surprise many visitors to the new exhibition at the Tate Gallery that a fair proportion of those drawings were scientific demonstrations of the technical foundations of art.

The exhibition reveals how responsive Turner was to the latest scientific and technical ideas of his time, and gives the lie to the fashionable division today between the arts and sciences.

During Turner's lifetime the Royal Academy, the Royal Society and the Society Of Antiquaries shared the same building, Somerset House, which encouraged the free interchange of ideas.

Turner knew all about new industrial processes, meteorology, astronomy, geology, magnetism and the revolution of steam - not least in ships and railways. Some of his most famous and thrilling paintings are based on these subjects and explore the transformation of contemporary life.

Much of Turner's early studies are often of complex architectural forms, Robin Simon and it remained an abiding interest, not least because he practised as an architect himself. He designed his own picture gallery and his country house, Sandycombe Lodge, Twickenham.

For his lectures at the Royal Academy, Turner prepared huge demonstration drawings of immense skill and complexity - which was just as well, since his delivery was so appalling that few in the audience could hear a word he said.

Turner would have had no time at all for today's art college gurus, who have thrown out life drawing and the study of perspective for the chimera of 'self-expression'.

He understood that you need the language, the vocabulary, the grammar of art, before you can communicate save at the level of incoherent grunts.

It is a grim irony that the Tate Gallery which mounted this excellent show should be the same institution that has borrowed Turner's name for an annual prize that celebrates everything he would have despised.

* DULWICH Picture Gallery, with its glorious permanent collection of works by the likes of Claude and Poussin, is the perfect place for an exhibition that celebrates the rediscovery of Italy in the 19th century after the Napoleonic Wars.

Turner's approach to landscape was built upon foundations laid by Richard Wilson in the 18th century, and to both artists Italy - and its earlier interpretation by Claude - was crucial.

This exquisite show is studded with gems by Turner but also with less familiar masterpieces by such as Girtin, Varley, Samuel Palmer, Edward Lear, J. F. Lewis and Bonington.

* Turner And The Scientists until June 21; Italy In The Age Of Turner until May 24.

Turning science into an art form.

Byline: ROBIN SIMON

Turner And The Scientists (Tate Gallery) Verdict: The art behind the artist *** Italy In The Age Of Turner (Dulwich Picture Gallery) Verdict: Italian gems ***

THINK of Turner and one thinks of luscious blobs of glowing colour, misty landscapes, sunshine and dancing light.

True enough, of course. But he was also Professor of Perspective at the Royal Academy. Those miracles of near-abstraction for which he is famous today were founded on the most rigorous academic principles of construction, and a rocklike solidity of composition.

It all looks so effortless and spontaneous. It was nothing of the sort.Turner's was the art that conceals art.

Turner filled to the letter the definition of genius as 'an infinite capacity for taking pains'. The astonishing freedom of the brush which he developed came from discipline, that spectacular display of colour from practice, practice and more practice: he left no fewer than 23,000 watercolour drawings to the nation.

It will surprise many visitors to the new exhibition at the Tate Gallery that a fair proportion of those drawings were scientific demonstrations of the technical foundations of art.

The exhibition reveals how responsive Turner was to the latest scientific and technical ideas of his time, and gives the lie to the fashionable division today between the arts and sciences.

During Turner's lifetime the Royal Academy, the Royal Society and the Society Of Antiquaries shared the same building, Somerset House, which encouraged the free interchange of ideas.

Turner knew all about new industrial processes, meteorology, astronomy, geology, magnetism and the revolution of steam - not least in ships and railways. Some of his most famous and thrilling paintings are based on these subjects and explore the transformation of contemporary life.

Much of Turner's early studies are often of complex architectural forms, Robin Simon and it remained an abiding interest, not least because he practised as an architect himself. He designed his own picture gallery and his country house, Sandycombe Lodge, Twickenham.

For his lectures at the Royal Academy, Turner prepared huge demonstration drawings of immense skill and complexity - which was just as well, since his delivery was so appalling that few in the audience could hear a word he said.

Turner would have had no time at all for today's art college gurus, who have thrown out life drawing and the study of perspective for the chimera of 'self-expression'.

He understood that you need the language, the vocabulary, the grammar of art, before you can communicate save at the level of incoherent grunts.

It is a grim irony that the Tate Gallery which mounted this excellent show should be the same institution that has borrowed Turner's name for an annual prize that celebrates everything he would have despised.

* DULWICH Picture Gallery, with its glorious permanent collection of works by the likes of Claude and Poussin, is the perfect place for an exhibition that celebrates the rediscovery of Italy in the 19th century after the Napoleonic Wars.

Turner's approach to landscape was built upon foundations laid by Richard Wilson in the 18th century, and to both artists Italy - and its earlier interpretation by Claude - was crucial.

This exquisite show is studded with gems by Turner but also with less familiar masterpieces by such as Girtin, Varley, Samuel Palmer, Edward Lear, J. F. Lewis and Bonington.

* Turner And The Scientists until June 21; Italy In The Age Of Turner until May 24.