Procris and Cephalus (Liber Studiorum, part VIII, plate 41)

Art Historical Context

In the grand tradition of Romantic landscape mastery, J.M.W. Turner's *Procris and Cephalus* (1812) is plate 41 from part VIII of his ambitious *Liber Studiorum* ("Book of Studies"), a series of 71 prints that showcased his innovative approach to nature's drama. Produced as an etching and mezzotint in its rare first state of three, this work measures a compact 7 3/8 x 10 1/2 inches on the plate. Collaborating with engraver George Clint, Turner drew from classical mythology—Ovid's tale of Cephalus, who unwittingly slays his wife Procris during a forest hunt—infusing it with emotional tension amid shadowy woods, figures, and a loyal dog. The *Liber Studiorum*, launched in 1807, was Turner's homage to 17th-century masters like Claude Lorrain, categorizing landscapes into epic, pastoral, and historical modes to elevate printmaking as fine art. Here, mezzotint's velvety tonal range captures Turner's signature atmospheric depth, evoking mist-shrouded mystery and tragic inevitability. Acquired via the Harris Brisbane Dick Fund in 1928, this Metropolitan Museum of Art treasure highlights how Turner democratized his oil paintings through affordable prints, bridging elite art with public appreciation. Visitors will delight in the print's intimate scale, where human drama unfolds against wild nature—a timeless reminder of love's fragility in Turner's luminous world.

About the Artist

Joseph Mallord William Turner|George Clint|Joseph Mallord William Turner · 1775–1851

Joseph Mallord William Turner, born on 23 April 1775 in London's Covent Garden to barber William Turner and Mary Marshall, emerged as a child prodigy amid personal hardships. His mother suffered mental illness and died in Bethlem Hospital in 1804, while his father supported his early sketches by displaying them in his shop. Around age 10, Turner stayed with his uncle Joseph Mallord William Marshal...