Joseph Mallord William Turner – Lake Avernus- Aeneas and the Cumaean Sybil
1814 or 1815.
Location: Yale Center for British Art, Paul Mellon Collection, New Haven.
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In the foreground, positioned near the waters edge, a small group of figures are arranged around what appears to be a chariot. One woman, draped in flowing white robes, stands slightly apart from the others, her arm raised as if gesturing towards the distant shoreline. A man in red attire is visible next to the chariot, and another figure reclines within it, partially obscured by its structure. The figures are rendered with a degree of detail that contrasts with the more generalized treatment of the landscape.
The lake itself reflects the sky above, creating an atmospheric perspective that enhances the sense of depth. A cluster of tall, slender trees punctuates the right side of the composition, their dark silhouettes adding verticality and drawing the eye upward. The left side features a rocky outcrop with what appears to be remnants of ancient stonework or fortifications, hinting at a history intertwined with the natural environment.
The painting evokes a sense of melancholy and mystery. The subdued color palette – primarily greens, blues, greys, and browns – contributes to this atmosphere. The positioning of the figures suggests a moment of contemplation or revelation; the woman’s gesture implies an unveiling or pointing towards something significant beyond the immediate scene. The presence of the chariot, a symbol of power and journey, reinforces the narrative implication of travel and destiny.
The ruins on the left side introduce a layer of temporal depth, suggesting that this location is imbued with historical weight and perhaps even haunted by the past. The overall effect is one of grandeur tinged with sadness – a place where the natural world meets human history in an atmosphere of profound significance.