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      "citation": "A. J. Finberg, Turner's Sketches and Drawings, 2nd ed. (London: Methuen, 1911), p. 63; plates XXVIII–XXIX. First published 1910.",
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          "quote": "In the two drawings of Whalley Bridge here reproduced (Plates XXVIII. and XXIX. ) we see him searching for that aspect of the place which shall fit in or harmonise with the mood which was predominant in his own mind at this time. It is only from the point of view of such a subjective emotional attitude that the first drawing (Plate XXVIII. ) could have been rejected in favour of the second (Plate XXIX. ). As a representation of the actual place, the first drawing is much more adequate than the second. But it is evidently just this topographical and objective adequacy which constituted the defect of this fine drawing from Turner’s point of view. In the other drawing there is far less to occupy the attention. Here the interest is concentrated on a few simple forms. The mind is, therefore, thrown back on itself, and forced as it were to call up its own resources to amplify and fill out the painter’s forms. And this is the mood of poetic contemplation or meditation expressed in the beautiful picture of this subject which Turner exhibited in 1811, and which is now in Lady Wantage’s collection.",
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      "citation": "Dordrechts Museum, “Turner, a new acquisition,” acquisition article and image caption; accessed 13 September 2026.",
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          "quote": "the light and serene, tranquil atmosphere in this work by the English artist are highly reminiscent of Cuyp.",
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