Michael turner artist sketches of athletes

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Pencil used to perfection captures man, mod and machine.

P.46 Mike Hawthorne –pits at Monza

Oh what a sketch. His work has been exhibited globally, and he has published six books featuring his paintings. The rain makes for a mirror like gloss on its surface `and in this there a slight reflections of the car.

He captures the split second potentiality of the situation. His tyres lift spray as if it’s raining or the track is wet after a shower.

The composition is rather dark and the weather overcast but the red body of the Ferrari is blood red and enlivens the whole picture.

Turner’s best work is graphic and real but never so overworked it fails to engage the viewer.

The paper provides the material for the overall, the pencil shades the creases.

P.97 Matra V12

The editor would simply suggest this drawing be compared with Peter Hutton. It takes the artist into composition, observation and the ability to use contrast to model form.
The editor would suggest Michael Turner would be a lesser artist if he could not draw.

In this one cameo sketch, Hawthorn’s personality, driving style and cars handling characteristics are caught and frozen to perfection.

On occasions the editor would suggest the Michaels Turners drawing exceed his painting.
This is quite and exception work of art.

It’s not merely photographic. He worked in London that of course would be the centre for commercial art linked to magazines, publishing, the theatre and museums etc not forgetting the rapidly developing post war role in motor sport. Both drivers and cars are captured full face; Surtees has a slight advantage. There is a narrow colour range as all three cars are Italian Red but their helmets distinguish the drivers.
The racing cars take centre stage.

The best work is very fresh.

Word Pictures, extended description of other works by Michael Turner.

1957 Sports Car Race in Venezuela [Moss and Dressel]

This must be one of the least sentimental and most ambitious paintings in its raw brutality.
Turner depicts graphically the impact between Moss [Maserati] and Dressel’s A.C
It churns your stomach.

The scene is caught from close quarters from behind and Turner is almost able to freeze frame the moment.

Two cars could collide and be “taken-out”. Drawing executed with diametric contrast of just outline set against suspension detail revealed against deep shadow.

P.162 James Hunt’s Mc Laren.

A pencil sketch of mastery and subtlety, lightest of touch minimum of contrast accept for spots of darkest shadow in radiator wheels and drivers helmet visor.

With a pencil question how do you separate and portray black and dark green. He can really work the pencil.

The editor particularly likes those “seen from the cockpit” which allow the viewer to participate; and be in the thick of the action.

Observations of sketches from “Formula One Drivers and Cars”

This book covers GP racing from 1950.The year of the first World Championship. His early interest in aircraft recognition and drawing was inspired by the R.A.F.

We are fortunate to have many of his prints in the A&R archive.

In this article the editor is able to incorporate an extended book review of Michael’s work from: Formula One: The Cars and Drivers*

This article might be best-enjoyed following reference to A&R piece on artist’s materials and drawing techniques.

Brief Biographical Detail

Michael Turner was born in Harrow, Middlesex in 1934.

Partial detail of Six wheel Tyrrell. Roebuck provides interviews and impressions of drivers.

The editor has elected a commented on the graphic vivid and authentic snatched glimpses that demonstrate the artists formidable “short hand”

P.18 Mike Hawthorne –Cooper Bristol

For many the technical ability to sketch is the apprenticeship to painting.

The leader not involved is almost oblivious; bound in his own concentration to win.

The body language is palpable; and we are almost able to read Fangio’s mind through his helmet in his split second reaction and instruction to the steering wheel.

This picture is not frozen in time; it feels 3D and evolving in time. What subtle variations in tone exacted from a pencil.

Often its in this level of observation and execution a picture lives or dies.

Befitting the climatic conditions Turner uses a restricted palette of blue mauve, greys and black.