2024-03-29T07:49:36Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:125682024-03-28ycba:pd
YCBA/lido-TMS-12568
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300139140
genre subject
300033973
drawing
300033973
Drawing & Watercolor
Design for a Medal: Growing Arts Adorn Empire, Caroline Protecting
Inscribed in artist's hand, in reverse, in pen and black ink, within circled design, upper center: "GROWING ARTS ADORN EMPIRE:"; in reverse, in pen with black ink, within circled design, lower center: "CAROLINE PROTECTING."; in pen with black ink, lower center: "GROWING ARTS ADORN EMPIRE: | CAROLINE PROTECTING."; on verso, in graphite on mount, upper right: "68/12/20/62"
Signed in pen and black ink, lower center: "H. Gravelot inv. & delin"
500303557
Yale Center for British Art
http://britishart.yale.edu
B1975.4.444
https://www.wikidata.org/wiki/Q109988269
Not on view
Yale Center for British Art
41.3080060, -72.9306282
11 1/8 x 7 3/4 inches (28.3 x 19.7 cm)
height
cm
28.3
width
cm
19.7
Mount
4 7/8 x 4 3/8 inches (12.4 x 11.1 cm)
height
cm
12.4
width
cm
11.1
Contemporary drawn border
3 1/4 × 2 7/8 inches (8.3 × 7.3 cm)
width
cm
7.3
height
cm
8.3
Sheet
12568
300054713
production
Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45)
ycba_actor_1856
https://viaf.org/viaf/47065548
http://vocab.getty.edu/ulan/500004164
https://www.wikidata.org/wiki/Q981197
http://id.loc.gov/authorities/names/n83227326
Hubert-François Gravelot
Hubert-François Bourguignon
Hubert-François Bourguignon Gravelot
Hubert-François Bourguignon d'Anville Gravelot
Hubert François Gravelot
Gravelot Hubert-François, 1699–1773
Hubert-François Gravelot, 1699–1773
Hubert-François Gravelot, 1699–1773
7011781
7008038
7008038
French, active in Britain (1733–45)
1699
1773
male
300025103
Artist
300112172
draftsman (artist)
300025136
painter
300025164
printmakers
300025165
engraver (printmaker)
300111188
French
ca. 1736
1731
1736
22
18th century
Pen and black ink and graphite, incised for transfer on medium, moderately textured, beige laid paper
300053847
incising
300011098
graphite
300014184
laid paper
black ink
Enlightened Princesses - Caroline, Augusta, Charlotte, and the Shaping of the Modern World (Yale Center for British Art, 2017-02-02 - 2017-04-30)
925
https://britishart.yale.edu/node/463
300054766
exhibition
Enlightened Princesses - Caroline, Augusta, Charlotte, and the Shaping of the Modern World
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
Yale Center for British Art
BAC
YCBA
British Art Center
1977
0
2017-02-02 - 2017-04-30
2017-02-02
2017-04-30
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
New Haven
7014210
New Haven
300435424
This exhibition explored the story of three remarkable German princesses: Caroline of Ansbach, Augusta of Saxe-Gotha, and Charlotte of Mecklenberg-Strelitz, all of whom married into the British royal family in the eighteenth century. Caroline and Charlotte became queens consort to George II and George III respectively; Princess Augusta never achieved this distinction but held the titles of Princess of Wales and Princess Dowager, and was mother to King George III.
Through their wide-ranging intellectual, social, and political interests, Caroline, Augusta, and Charlotte helped to shape court culture and the age in which they lived, and would leave a lasting legacy. They encouraged the greatest philosophers, scientists, artists, and architects of the day; and they brought art, music, dance, enlightened conversation, and experimentation into the palaces and royal gardens, and supported industry, trade, and imperial ambition. The exhibition included many important works of art and manufacture that belonged to these women and their families, or were commissioned by them. Works by Hans Holbein, William Kent, Allan Ramsay, Sir Joshua Reynolds, George Stubbs, Thomas Gainsborough, Johan Zoffany, and many more were on display. The artist Yinka Shonibare MBE (RA) (b. 1962) also created a sculpture, Mrs Pinckney and the Emancipated Birds of South Carolina (2017), specifically for this exhibition. — —
Enlightened Princesses focused on five themes, explaining the princesses’ activities and interlocking contributions over the course of their lifetimes. Firstly, “Cultures of Learning: Powerful Conversations” examined how Caroline, Augusta, and Charlotte built pivotal relationships with leading cultural and intellectual figures of their age, and the far-reaching consequences of those exchanges. This lead into a consideration of “The Court as a Stage,” not only in the literal sense for the performance of music, dance, and theater but also as a political and cultural arena in which the princesses had to navigate the inherently political nature of public and private life. “Royal Women: Mothers of the Nation” considered the princesses’ engagement with evolving contemporary philosophies about childhood, both as active contributors to the educational programs devised for their own children and in their public roles as encouragers and protectors committed to the development of wide-reaching philanthropic projects. Next, “To Promote and Protect: The Princesses and the Wider World” showed how the princesses supported enterprising industrialists and furnished their own homes and developed their gardens so as to champion national manufacturers and the produce of empire. Finally, a concluding section on “Political Gardening” showed how Caroline, Augusta, and Charlotte explored contemporary garden philosophies and exercised their architectural ambitions for both personal and political ends, all the while reacting to a volatile commercial environment as well as a changing perception of the bonds between the dynasty, nationhood, and empire. — —
Credits — —
Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World ?was a collaboration between Historic Royal Palaces and the Yale Center for British Art. The exhibition was also on view at Kensington Palace from June 22 to November 12, 2017. The lead curator was Joanna Marschner, Senior Curator at Historic Royal Palaces, assisted by Samantha Howard, Curatorial Assistant. The organizing curator at the Center was Amy Meyers, Director, who was assisted by Lisa Ford, Assistant Director of Research; Glenn Adamson, Senior Research Associate; and Tyler Griffith, Postdoctoral Research Associate. — —
The exhibition was accompanied by a publication of the same title, a beautifully illustrated catalogue of works edited by Joanna Marschner, with the assistance of David Bindman and Lisa Ford. Co-published with Historic Royal Palaces in association with Yale University Press, the book features contributions by an international team of scholars.
Yale Center for British Art
12568
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1975
1975
1975
300138913
gift
300139140
ycba_term_2036211
genre subject
300054171
ycba_term_116572
design
300188975
ycba_term_42014
figure (illustration)
300189557
ycba_term_105
female
300239500
ycba_term_8513
standing
300046025
ycba_term_37925
medal
300123040
ycba_term_39981
emblem (allegorical picture)
300055603
500303557
Yale Center for British Art
https://britishart.yale.edu
Yale Center for British Art, Paul Mellon Collection
300055598
Public Domain
300435434
https://creativecommons.org/publicdomain/zero/1.0/
12568
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:12568
oai:tms.ycba.yale.edu:12568
https://manifests.collections.yale.edu/v2/ycba/obj/12568
https://manifests.collections.yale.edu/ycba/obj/12568
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art