For Turner’s impact on those French painters, I quote the divisionist painter Paul Signac:

National Gallery. A quick glance at the Turners as a whole. From 1834 he frees himself from black and looks to the most beautiful colorations; color for color’s sake. You would say he was mad; it seems he wanted to make up for lost time. He was forty-five years old when he began to see really clearly–how this gives us hope.

March 29. A serious visit to Turner… In sum–he freed himself from all dark tones after 1830. His color vibrates, the pictures are composed, the colors organized. It is complete and meditated control. Then twelve years later he sacrificed everything to color. What he loses in pre-meditation he gains in pure and harmonious brilliance. His influence on Delacroix is incontestable. In 1834 the French master studied and understood Turner. The tones, the hues, the harmonies I have seen in Delacroix, I find again in Turner, The figures are treated with the same liberality.

Again Paul Signac on Turner’s influence on Monet and Pissarro:

In 1871 during the course of a long stay in London, Claude Monet and Camille Pissarro discovered Turner. They marvelled at the assured and magic qualities of his colors, they studied his work, analyzed his technique. At first they were struck by his snow and ice effects, amazed at the way he succeeded in conveying the sensation of snow’s whiteness, which they themselves had failed to do with their large patches of silver white spread on flat with broad brushstrokes. They saw that these wonderful effects had been achieved not with white alone, but with a host of mujlticolored strokes, dabbed in one against the other, and producing the desired effect when seen from a distance.

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