The Mr Turner Workshops
Winsor & Newton have been making artists materials since 1832 which means not only that we have had all those years to perfect our trade but also that we have worked with many of the most famous artists in the world. One of those artists is JMW Turner, who is a confirmed user of Winsor & Newton oil colour.
When making Mr Turner, Mike Leigh along with members of his cast and crew, came into see the innovation and development department at Winsor & Newton to make use of the archive and learn about pigment and making paint.
Mike Leigh is famous his process as a filmmaker and the system he uses involves a huge amount of research. As he and his actors improvise and create the script step-by-step, they must have as much contextual information as possible with which to bring the story to life.
When we caught up with Mike Leigh months later, as Mr Turner was being released into cinema’s he said, “It’s great that your resource exists for people doing what we were doing, remarkable really.”
| Mike Leigh and his team at Winsor & Newton
Paul Robinson, our UK Resident artist ran the workshops that Mike Leigh and his team took part in, ‘I ended up running two sessions, the first was for a larger group of cast and crew that included Mike Leigh and Timothy Spall. This was followed by a more focused group, including Dorothy Atkinson and Paul Jesson who were also at the first session. In this second group we focused more on the making of paint and practiced this with muller from the period. This method is expertly demonstrated by Paul Jesson as Turner's father, as we see him in one scene making up some Chrome Yellow oil colour."
An experience which Mike Leigh spoke to, “Yes, well Paul talked to us about the background of the technology really and of that, which was immensely useful and then we all went into a room and messed about with paint for a bit, had a good wheeze and walked away with goodies. The real meat and bones of it was Paul’s talk which he did a couple of times for us and it was very important.”
We also spoke with Dorothy Atkinson who plays Hannah Danby, who was Turner’s housekeeper (and according to some, lover), also took part in the workshop which she says was just one step in the research process the role required, “As you’re working on building a character you’re working on research and we did a lot with Paul Robinson when we went to Winsor & Newton. We learnt how to mix paint and got to know all about that so it’s kind of in tandem, all the research and the development of the character.”
Hannah Danby worked with Turner until the time of this death in 1951, “Turner gave Hannah a life, a purpose and a home and because of the nature of him being an artist in that period in time he would have been quite bohemian so she wouldn’t have been servile. She was part of the family.”
Marion Bailey, who plays Turner’s wife Mrs Booth in the film didn’t take part in the workshops as her character didn’t demand it but she did find a renewed love of Turner through the making of the film.
“I was a fan of Turner’s paintings although I am much more of one now, but yes I always loved his work. I didn’t know anything about the man except he was a working class Londoner, that’s about all I knew.”
| Courtesy of Eone Enterainment
Dorothy also learnt a great deal about the artist while making the film,
“I knew his top ten and I hadn’t lingered in front of them any more than anything else in the gallery. But now I’m a super-fan, just because we had the privilege of going into the Clore Gallery and seeing all the works. If you needed to see something then you could ask and they’d bring it out which was particularly helpful.”
Through the workshops and working with the film’s art department Paul Robinson ended up landing a cameo role in the film, securing another place in history for Winsor & Newton. But the other story here is how with the help of Winsor & Newton Mike Leigh and his team were able to more accurately bring to life the process of painting and mixing paints that Turner would have used in his day to day life.
In the words of Mike Leigh, “I looked at a whole bunch of films about artists. I don’t normally do that but I did before I made this film just out of interest really, some of which I’d seen and some not. But you don’t see the artists rolling up their sleeve and getting down to actually doing it a lot in these films. Obviously because of the nature of the way I look at things, that’s what I wanted to do though in a way therefore your contribution and the practical stuff was of central importance.”
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