Several art historians and critics have engaged in a spirited debate about the life and work of renowned British painter J.M.W. Turner, sharing personal insights and scholarly perspectives in a series of letters that touch on everything from his mother's mental health to memorable encounters with other famous artists.

Dr. Selby Whittingham, Secretary of the Independent Turner Society, responded to questions about Turner's mother Mary's mental illness by arguing that her condition was likely worsened by frustration with her living circumstances. According to Whittingham, Mary Turner's distress stemmed from the stark contrast between her current situation in a modest Covent Garden lodging and her more comfortable upbringing in an Islington home, as well as the prosperous circumstances of her relatives. Whittingham noted that Turner's father lacked the ambition to improve their living conditions, adding to the family's domestic tensions.

Whittingham has extensively researched Turner's family background, publishing findings in the Genealogists Magazine, the British Art Journal, and most recently in a publication for Turner 250: Happy Birthdays! J.M.W. Turner and Prince George on Richmond Hill. His research led to the erection of a plaque on the site of Turner's uncle's house in Brentford, where the young artist was sent to escape the chaos at home. Whittingham drew parallels between Turner's experience and that of Beethoven at a similar age in Bonn, noting that both artists acquired lifelong cultured friendships during these formative periods away from troubled family situations.

Paul Collins from Horton cum Studley, Oxfordshire, shared a fascinating personal encounter with painter Francis Bacon from 1969. Collins met Bacon at a health spa in Surrey, where the famous artist claimed his agent had sent him to dry out. Despite Collins' initial awe at meeting the renowned painter, Bacon's unpretentious friendliness quickly put him at ease. Collins drove Bacon in his first Mini to see the Turner collection at Petworth House, which was also hosting a William Blake exhibition at the time.

Surprisingly, Bacon showed little interest in the Petworth Turners, which he had never seen before, and was dismissive of Blake as a visual artist, though he appreciated Blake's poetry. Most unexpectedly, Bacon declared his preference for John Constable over Turner. The following day, Bacon felt compelled to travel alone to Guildford for what he described as "a glass of burgundy," adding another quirky detail to this memorable artistic encounter.

Martin Argles from London offered a fresh perspective on Constable's work, arguing that it deserves recognition beyond mere "chocolate box decoration." He specifically highlighted Constable's "Dedham Vale" at the National Galleries of Scotland, praising it as a fine landscape while drawing attention to a detail often overlooked by casual viewers. Hidden among the rocks below a towering tree, Argles noted, is a very small and wretched hut with an old woman in red cradling a baby, representing the countryside misery and poverty that existed during the age of the Enclosure Acts.

John Caperon from Crowborough, East Sussex, concluded the artistic discussion by addressing critic Jonathan Jones's analytical approach to art history. While Caperon had previously expressed concerns about Jones's Freudian interpretations of artist Jean-François Millet, he praised Jones's recent excellent pieces on Caravaggio from November 24th, as well as his work on both Constable and Turner. The exchange of letters demonstrates the ongoing vitality of art historical debate and the personal connections that continue to shape our understanding of these master painters.