They also reflect her passion of the outdoors and the countryside that surrounds her home. Grand rivals: Turner versus the masters at Tate Britain, Turner and the Masters: the jewel in Tate Britain's crown. Jemma was inspired by the works of William Turner when painting this turbulent seascape. There was a hierarchy of styles: still-life and landscape at the bottom, because they had no philosophy, portraits a bit further up because, although they were still only about copying reality, at least they involved a bit of knowledge of human character. She recently exhibited her first solo show at Anthropologie, King rd, London, whilst simultaneously filming a new adaptation of Frances Hodgson Burnett’s The Secret Garden. Here was everything: philosophy, poetry, imagination, skill. He made a fortune. What kind of artistic identity did he try to create, and why?

He went to the Royal Academy Schools when he was 14, and was accepted into the Academy only a year later. From imitating the Grand Style, the artist himself could become grand in society. Just as Turner reached adulthood, the conflict (temporarily) ceased and artists could travel to Europe freely (he went to France and Switzerland for the first time in 1802 when he was 27, just after the signing of the Treaty of Amiens). For the last 50 years he has been widely thought of as a genius of "painterly" painting, that approach to painting where the medium is exploited to its full extent, and the way the picture is created - its surface, marks, colour, texture and forms - is more important than what it depicts. To book tickets go to tickets.tate.org.uk, Take an early look at Turner and the Masters at Tate Britain, a major new exhibition that places JMW Turner's artworks alongside the paintings that inspired them, Available for everyone, funded by readers. The painting of a biblical deluge by Poussin in Turner and the Masters is quite unlike Turner's treatment of the same subject. Tradition came under attack from the new virtue, originality. From this point on, Turner was appreciated as a purely visual artist - a creator of light effects divorced from meaning (and often from form). Red Buoy in Storm is an original oil seascape painting by Jemma Powell. 88 The collector William Beckford paid more than £6,000 for a pair of paintings by Claude; for a picture by Turner done in a Poussinesque manner, he offered £150. She likes to also work with her memory and the sensations of being in that particular place, working intuitively through the process of applying the paint, wiping it off, reapplying with brush or palette knife, scrubbing it and using her fingers to make expressive marks, stopping when she is happy with the texture and the image. Framed Size: H 34.5cm x W 42.5cm x D 4cm

Thadée Natanson, the editor of La Revue Blanche , said of Signac: "The acuity of his luminous, vibrant colours, and the ingenuity of his composition which so marvellously fills a painting, are truly admirable; he breathes serenity". Turner doesn't have this range, despite his enormous output over a 50-year career. But Turner's best is not necessarily the best that art can offer. Her love of painting flowers are not botanical paintings, they are merely a way of expressing colour, shape and form. The 17th-century French painters, Poussin and Claude Lorrain (usually referred to as "Claude") were particularly significant for Turner because they were landscape artists before the genre technically existed; that is, they painted scenes of classical mythology in which figures interact with landscapes that the artists have concocted, partly according to observation, but mostly according to classical ideals of proportion and harmony. What was Turner thinking? A perfectly organised, beautiful holy family by Titian confronts a horrible-looking brown thing by Turner; a Turner of some gods and cupids looks jolly, whereas the Veronese it salutes is simply staggering. Signac did not paint directly from the motif but worked in his studio from studies made from nature. You had to imitate them from afar, as an airy ideal. He exhibited his first oil painting there when he was 21 (and almost every year for the rest of his life).

Jemma Powell grew up in a house of artists, mother Lucy Powell is a painter and father Dick Powell a product designer. Browse all your favorite music genres and podcasts. Jemma Powell says: “I like the mistakes, they are the most exciting part, things start to appear and the painting takes on a life of its own.” Jemma Powell draws her inspiration from nature and the places she travels to, working plein air in watercolour, charcoal, pencil and oil pastel, bringing it home to develop later in oil on board.