They're extraordinarily finely worked.

With his watercolors, Turner could paint with virtuosic precision, a confounding gift in a medium so fussily fluid. Turner: Watercolors from Tate," featuring 100 watercolors from the Britist artist. But these works are extremely susceptible to light damage and can be shown only once in a generation. Turner: Watercolors from Tate" exhibition which recently ended at Mystic Seaport Museum. And it's the only North American stop these fragile works will make.Special correspondent Jared Bowen has our report.It's part of our weekly series on arts and culture, Canvas.JMW Turner moved from cathedrals to coasts, from the bright light of day to the deep dark of night, and from the moody tones of his native England to the luminescent glow of Venice, Italy. The 97 works in the show, including a few oils, cover the key stages and themes of his career, with many outstanding examples that will not return to the States anytime soon.In addition to Mystic Seaport, where several historic vessels — including the sole surviving wooden whaleship, the Charles W. Morgan — are docked, the area’s attractions include Mystic Aquarium, the charming village of Mystic itself and two of the country’s largest casinos: Mohegan Sun in Uncasville and Foxwoods in Ledyard, also home to the Mashantucket Pequot Museum.On the way to or from Mystic, by car or Amtrak, plan to stop in New Haven at the Yale Center for British Art, designed by Louis Kahn and paid for by Paul Mellon as a showcase for his exceptional personal collection. Turner Watercolors from Tate at the Mystic Seaport Museum will run until February 23rd, 2020.

That meant — by liberal count — 36,000 watercolors. Mystic Seaport, a Connecticut museum village interpreting 19 th-century marine trades, is an unlikely cold-weather destination, but this winter is an exception.The seaport, about 135 miles east of New York City, near the Rhode Island border, is the only U.S. venue for an art exhibition with true drawing power: “J.M.W. Turner: Watercolors from Tate, a major exhibition drawn from the renowned Turner Bequest of 1856, the vast legacy of art donated to Great Britain by J.M.W. Turner was—with an understanding of the classical conventions of Western landscape painting at his disposal—representing the intangible, as had no Western artist before. The early paintings are generally dark and nearly monochromatic, yet they are rich in the layering of washes in a way that foreshadows Turner’s later blurring of distinctions between water and oil based media.

At just under a hundred works — ninety-two watercolors and four oils — the William Turner show now at the Mystic Seaport Museum is as good an overview of the artist’s career in the medium as can be imagined. The sizes vary greatly, from small-scale works that appear to have been done spontaneously; diminutive vignettes, painted for publication and the least interesting work here; large, highly finished pieces, mostly from the early period; and large, loosely painted images, like Turner was pragmatic, carrying small sketchbooks that could be rolled up and stuffed in his pockets while traveling. He realized that he was a great artist, and he wanted to leave a legacy to the nation, to the British nation.Now that legacy is getting some international burnishing. Later watercolors and oils (For all the influence Turner exerted on Impressionist theory, his most direct successors  seem to be non-objectivists.

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