2024-03-29T11:41:44Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:141432024-03-28ycba:pd
YCBA/lido-TMS-14143
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300078925
watercolor
300033973
drawing
300139140
genre subject
300033973
Drawing & Watercolor
Grace Before Meat
Signed and dated in brown ink, lower left: "David Wilkie | ft 1839"
500303557
Yale Center for British Art
http://britishart.yale.edu
B1977.14.4299
https://www.wikidata.org/wiki/Q110010411
Not on view
Yale Center for British Art
41.3080060, -72.9306282
8 1/4 x 10 1/8 inches (21 x 25.7 cm)
width
cm
25.7
height
cm
21.0
Sheet
14143
300054713
production
Sir David Wilkie, 1785–1841, British
ycba_actor_121
https://n2t.net/ark:/99166/w6sf2t6t
https://viaf.org/viaf/32265939
http://vocab.getty.edu/ulan/500121036
http://id.loc.gov/authorities/names/n85342493
https://www.wikidata.org/wiki/Q902759
Sir David Wilkie
David Wilkie R. A.
David Wilke
David Wilkie
Wilkie, David, Sir, 1785–1841
Wilkie David Sir, 1785–1841
Sir David Wilkie, 1785–1841
Sir David Wilkie, 1785–1841
7003637
7000084
7004540
1050575
7010413
7005730
7000874
7008038
7011781
British
1785
1841
male
300025103
Artist
Royal Academician
300112172
draftsman (artist)
genre painter
300253811
history painter
300237351
portrait painter
300025164
printmaker
300111159
British
1839
1839
1839
24
19th century
Watercolor with brown and red ink over graphite on medium, slightly textured, cream wove paper
300014187
wove paper
300015045
watercolor
300022452
pen
300011098
graphite
https://www.wikidata.org/wiki/Q58344150
brown ink
red ink
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (Yale Center for British Art, 2008-06-09 - 2008-08-17)
500
https://britishart.yale.edu/node/647
300054766
exhibition
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art
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
British Art Center
BAC
YCBA
Yale Center for British Art
1977
0
66
Lender
2008-06-09 - 2008-08-17
2008-06-09
2008-08-17
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
Great British Watercolors brought together eighty-eight outstanding works in the medium from the Paul Mellon Collection at the Center, including masterpieces by J. M. W. Turner, John Constable, William Blake, Paul Sandby, John Robert Cozens, Thomas Girtin, Thomas Gainsborough, and others. The exhibition was organized as part of the 2007 celebrations commemorating both the Center’s thirtieth anniversary and the centenary of the institution’s founder, Paul Mellon, one of the greatest cultural philanthropists of the twentieth century.
In a period of a little over fifteen years, beginning in the early 1960s, Mr. Mellon assembled one of the world’s greatest collections of British drawings and watercolors. As part of his extensive collecting of British art, he purchased several distinguished private collections of British watercolors, enriching and expanding them with astute purchases reflecting his own taste. In his memoirs he praised “the beauty and freshness of English drawings and watercolors, their immediacy and sureness of technique, their comprehensiveness of subject matter, their vital qualities, their Englishness.” — —
Great British Watercolors spanned more than a century of British artistic production, from the emergence of watercolor painting in the mid-eighteenth century to its flowering in the early nineteenth century. The exhibition highlighted the diversity of British watercolor painting, showing both landscapes and figurative works by some of the principal artists who worked in the medium. Paul Mellon’s collecting activity helped to revive the study of British watercolor. — —
Venues — —
Virginia Museum of Fine Arts, Richmond: — —
July 11–September 30, 2007 — —
The State Hermitage Museum, St. Petersburg, Russia: — —
October 23, 2007–January 13, 2008 — —
Yale Center for British Art: — —
une 10–August 17, 2008 — —
Credits — —
Organized by the Center in association with the Virginia Museum of Fine Arts, Richmond, Great British Watercolors was curated by Scott Wilcox, Curator of Prints and Drawings at the Center; Mitchell Merling, Paul Mellon Curator and Head of the Department of European Art, Virginia Museum of Fine Arts; and Matthew Hargraves, Postdoctoral Research Associate in the Department of Paintings and Sculpture at the Center.
Yale Center for British Art
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (The State Hermitage Museum, 2007-10-23 - 2008-01-13)
500
https://britishart.yale.edu/node/647
300054766
exhibition
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art
Yale Center for British Art
The State Hermitage Museum
ycba_actor_6557
Olga Ilmenkova
The State Hermitage Museum
0
0
300311675
Borrower
2007-10-23 - 2008-01-13
2007-10-23
2008-01-13
The State Hermitage Museum
ycba_actor_6557
The State Hermitage Museum
Sankt-Peterburg
7010273
Sankt-Peterburg
300435424
Great British Watercolors brought together eighty-eight outstanding works in the medium from the Paul Mellon Collection at the Center, including masterpieces by J. M. W. Turner, John Constable, William Blake, Paul Sandby, John Robert Cozens, Thomas Girtin, Thomas Gainsborough, and others. The exhibition was organized as part of the 2007 celebrations commemorating both the Center’s thirtieth anniversary and the centenary of the institution’s founder, Paul Mellon, one of the greatest cultural philanthropists of the twentieth century.
In a period of a little over fifteen years, beginning in the early 1960s, Mr. Mellon assembled one of the world’s greatest collections of British drawings and watercolors. As part of his extensive collecting of British art, he purchased several distinguished private collections of British watercolors, enriching and expanding them with astute purchases reflecting his own taste. In his memoirs he praised “the beauty and freshness of English drawings and watercolors, their immediacy and sureness of technique, their comprehensiveness of subject matter, their vital qualities, their Englishness.” — —
Great British Watercolors spanned more than a century of British artistic production, from the emergence of watercolor painting in the mid-eighteenth century to its flowering in the early nineteenth century. The exhibition highlighted the diversity of British watercolor painting, showing both landscapes and figurative works by some of the principal artists who worked in the medium. Paul Mellon’s collecting activity helped to revive the study of British watercolor. — —
Venues — —
Virginia Museum of Fine Arts, Richmond: — —
July 11–September 30, 2007 — —
The State Hermitage Museum, St. Petersburg, Russia: — —
October 23, 2007–January 13, 2008 — —
Yale Center for British Art: — —
une 10–August 17, 2008 — —
Credits — —
Organized by the Center in association with the Virginia Museum of Fine Arts, Richmond, Great British Watercolors was curated by Scott Wilcox, Curator of Prints and Drawings at the Center; Mitchell Merling, Paul Mellon Curator and Head of the Department of European Art, Virginia Museum of Fine Arts; and Matthew Hargraves, Postdoctoral Research Associate in the Department of Paintings and Sculpture at the Center.
Yale Center for British Art
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (Virginia Museum of Fine Arts, 2007-07-11 - 2007-09-30)
500
https://britishart.yale.edu/node/647
300054766
exhibition
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art
Yale Center for British Art
Virginia Museum of Fine Arts
ycba_actor_1286
https://n2t.net/ark:/99166/w6991x8v
https://viaf.org/viaf/148748621
http://www.wikidata.org/entity/Q4013975
http://vocab.getty.edu/ulan/500310718
http://id.loc.gov/authorities/names/n79046025
Virginia Museum of Fine Arts
0
0
300311675
Borrower
2007-07-11 - 2007-09-30
2007-07-11
2007-09-30
Virginia Museum of Fine Arts
ycba_actor_1286
http://id.loc.gov/authorities/names/n79046025
http://vocab.getty.edu/ulan/500310718
http://www.wikidata.org/entity/Q4013975
https://n2t.net/ark:/99166/w6991x8v
https://viaf.org/viaf/148748621
Virginia Museum of Fine Arts
Richmond
7013964
Richmond
300435424
Great British Watercolors brought together eighty-eight outstanding works in the medium from the Paul Mellon Collection at the Center, including masterpieces by J. M. W. Turner, John Constable, William Blake, Paul Sandby, John Robert Cozens, Thomas Girtin, Thomas Gainsborough, and others. The exhibition was organized as part of the 2007 celebrations commemorating both the Center’s thirtieth anniversary and the centenary of the institution’s founder, Paul Mellon, one of the greatest cultural philanthropists of the twentieth century.
In a period of a little over fifteen years, beginning in the early 1960s, Mr. Mellon assembled one of the world’s greatest collections of British drawings and watercolors. As part of his extensive collecting of British art, he purchased several distinguished private collections of British watercolors, enriching and expanding them with astute purchases reflecting his own taste. In his memoirs he praised “the beauty and freshness of English drawings and watercolors, their immediacy and sureness of technique, their comprehensiveness of subject matter, their vital qualities, their Englishness.” — —
Great British Watercolors spanned more than a century of British artistic production, from the emergence of watercolor painting in the mid-eighteenth century to its flowering in the early nineteenth century. The exhibition highlighted the diversity of British watercolor painting, showing both landscapes and figurative works by some of the principal artists who worked in the medium. Paul Mellon’s collecting activity helped to revive the study of British watercolor. — —
Venues — —
Virginia Museum of Fine Arts, Richmond: — —
July 11–September 30, 2007 — —
The State Hermitage Museum, St. Petersburg, Russia: — —
October 23, 2007–January 13, 2008 — —
Yale Center for British Art: — —
une 10–August 17, 2008 — —
Credits — —
Organized by the Center in association with the Virginia Museum of Fine Arts, Richmond, Great British Watercolors was curated by Scott Wilcox, Curator of Prints and Drawings at the Center; Mitchell Merling, Paul Mellon Curator and Head of the Department of European Art, Virginia Museum of Fine Arts; and Matthew Hargraves, Postdoctoral Research Associate in the Department of Paintings and Sculpture at the Center.
Yale Center for British Art
David Wilkie : Genre Painter (Dulwich Picture Gallery, 2002-09-11 - 2002-12-01)
139
300054766
exhibition
David Wilkie : Genre Painter
Yale Center for British Art
Dulwich Picture Gallery
ycba_actor_6385
http://www.wikidata.org/entity/Q1241163
https://viaf.org/viaf/147751332
http://vocab.getty.edu/ulan/500301758
http://id.loc.gov/authorities/names/n81002769
Dulwich Picture Gallery
0
0
300311675
Borrower
2002-09-11 - 2002-12-01
2002-09-11
2002-12-01
Dulwich Picture Gallery
ycba_actor_6385
http://id.loc.gov/authorities/names/n81002769
http://vocab.getty.edu/ulan/500301758
http://www.wikidata.org/entity/Q1241163
https://viaf.org/viaf/147751332
Dulwich Picture Gallery
London
7011781
London
14143
5396123
N5056 .M35 M25 1857 (YCBA)
187494888
4640
300054686
publication event
^Catalogue of the art treasures of the United Kingdom : collected at Manchester in 1857.^, Bradbury and Evans, London, p. 184, no. 185, N5056 .M35 M25 1857 (YCBA) Also available in Hathitrust
Yale Center for British Art
Bradbury and Evans
ycba_actor_9706
Bradbury and Evans
300025574
Publisher
0
0
London
14143
6086619
NJ18. W665 776 2002 (LC) OVERSIZE (YCBA)
51000585
3792
300054686
publication event
Nicholas Tromans, ^David Wilkie: A Painter of Everyday Life^, London: Dulwich Picture Gallery, p. 145, no. 63, NJ18. W665 776 2002 (LC) OVERSIZE (YCBA)
Yale Center for British Art
Nicholas Tromans
ycba_actor_10015
Tromans Nicholas
300025492
Author
London: Dulwich Picture Gallery
ycba_actor_12540
London: Dulwich Picture Gallery
300025574
Publisher
0
0
14143
7842306
ND1928 .Y35 2007 (LC)+ Oversize (YCBA)
71833360
4877
300054686
publication event
Yale Center for British Art, ^Great British watercolors : from the Paul Mellon Collection^, Yale University Press, New Haven, 2007, pp. 140-42, no. 61, ND1928 .Y35 2007 (LC)+ Oversize (YCBA)
Yale Center for British Art
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
300025492
Author
Matthew Hargraves
ycba_actor_7112
Hargraves Matthew
300025492
Author
Scott Wilcox
ycba_actor_1252
Wilcox Scott
300025492
Author
Yale University Press
ycba_actor_7029
Yale University Press
300025574
Publisher
2007
2007
2007
New Haven
14143
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1977
1977
1977
300138913
gift
In 1836 David Wilkie was commissioned by Glendy Burke of New Orleans to produce an oil painting depicting a family saying grace. Wilkie was a painstaking planner, working through every detail of his paintings with careful preparatory drawings. Often he would use watercolor to block in the forms of objects and to define the spatial relationships between them. By using his pigments in an extremely saturated state, the brilliant blues and reds gave Wilkie a visual shorthand for the chromatic richness that was so admired in his final canvases.
--- --- Gallery label for Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (Yale Center for British Art, 2008-06-09 - 2008-08-17)
14143
300048722
Gallery label
2008-06-24
When David Wilkie arrived in London from Scotland in 1805, his manner of drawing both shocked and impressed fellow students at the Royal Academy Schools. He had received no orthodox academic training until then, and the discipline of making laborious studies in pencil and chalk after plaster casts was unknown to him. Instead, his style was bold and sketchy. His contemporary Benjamin Robert Haydon (1786-1846) was disapproving, noting that "Wilkie drew at the Academy with spirit, it was in a style of smartness, so full of what are called spirited touches that it could not be recommended for imitation." He retained this sketchy manner of drawing throughout his career, despite becoming an accomplished draftsman in the more conventional academic mold. When he was in Paris in 1821 copying paintings in the Louvre, he began to add touches of watercolor to his sketches in order to capture general effects of color. Grace before Meat is an example of this technique used in a working drawing for the oil painting of the same name (fig. 9), which was commissioned from Wilkie by Glendy Burke of New Orleans in 1836. The com. mission was probably the result of Burke having seen a painting on the same theme (now Belvoir Castle, Grantham, Leicestershire) by the Dutch genre painter Jan Steen (1626-1679) at the British Institution exhibition the previous year. Ever since Wilkie had shown his Village Politicians (private collection) at the Royal Academy in 1806, he had been lauded as a modern rival of those seventeenth century Dutch artists like Steen whose small cabinet pictures were so admired by connoisseurs. --- ---
Wilkie tended to work laboriously, producing countless studies before tackling a major oil painting in earnest. Several other preparatory drawings exploring details from Grace before Meat survive, as well as a full oil sketch. Despite such methodical labor, however, the lesson Wilkie learned from copying in watercolor at the Louvre was that, with only a few washes, the general composition and color of a painting could be mapped quickly, without the need for detailed drawing. This refinement on his early spirited drawing style has been used here to block in the forms of objects, such as the table, as well as to define the spatial relationships between them through laying in dark background washes of brown ink. Using his pigments of brilliant blues and reds in an extremely saturated state gave Wilkie a visual shorthand for the chromatic richness that was so admired in his final canvases. --- ---
Charles Lamb had published an essay called "Grace before Meat" in 1823 and acknowledged that "the benediction before eating has its beauty at a poor table, or at a simple and unprovocative repast for children. It is here that the grace becomes exceedingly graceful." But he added that "practically I own that (before meat especially) they seem to involve something awkward and unseasonable." To Lamb, the blend of piety and expectant gluttony was unseemly or, as he put it, "the heats of epicurism put out the gentle flame of devotion." The subject itself was close to Wilkie's own heart. Like the family depicted. Wilkie was a Scottish Calvinist who hoped to recon cile painting with his religion. Lamb's sense of impropriety is avoided by showing the family - neither poverty-stricken nor excessively affluent - soberly preparing to begin the meal. As the verses Wilkie used when exhibiting the painting affirm, he shows "a lowly cot[tage]" and its "simple owner" raising his bonnet to request "a blessing on the humble meal." Through simple scenes of domestic piety such as this, Wilkie hoped to find a Protestant equivalent to the Catholic devotional art that had so impressed him on the Continent. He once wrote to a friend praising painting's ability to "represent the mysteries of a spiritual revelation" through its "undefinable powers over colour and form, over light and darkness" - those very qualities to the fore in this watercolor. "The art of painting seems made for the service of Christianity," he declared, "would that the Catholics were not the only sect who have seen its advantages."
--- --- Matthew Hargraves
--- --- Hargraves, Matthew, and Scott Wilcox. Great British Watercolors: from the Paul Mellon collection. New Haven: Yale Center for British Art, 2007, pp. 140-142, no. 61
14143
300111999
Published catalog entry
ycba_actor_7112
Matthew Hargraves
300025492
Author
2007
300254496
ycba_term_12088
food
300010279
ycba_term_1367
interior
300055474
ycba_term_38768
family
ycba_term_2040742
tablecloth
300025928
ycba_term_7001
men
300025932
ycba_term_35283
mother
300025945
ycba_term_114139
children
300025943
ycba_term_7002
women
300139140
ycba_term_2036211
genre subject
300002654
ycba_term_42059
infant
300250130
ycba_term_2036348
dog (animal)
300379054
ycba_term_2037033
dinner
300025931
ycba_term_35279
father
300209991
ycba_term_44037
shawl
300375120
ycba_term_2037034
eating
prayer
ycba_term_35435
Catalogue of the art treasures of the United Kingdom : collected at Manchester in 1857., Bradbury and Evans, London, p. 184, no. 185, N5056 .M35 M25 1857 (YCBA) Also available in Hathitrust
5396123
N5056 .M35 M25 1857 (YCBA)
187494888
4640
related to
Nicholas Tromans, David Wilkie: A Painter of Everyday Life, London: Dulwich Picture Gallery, p. 145, no. 63, NJ18. W665 776 2002 (LC) OVERSIZE (YCBA)
6086619
NJ18. W665 776 2002 (LC) OVERSIZE (YCBA)
51000585
3792
related to
Yale Center for British Art, Great British watercolors : from the Paul Mellon Collection, Yale University Press, New Haven, 2007, pp. 140-42, no. 61, ND1928 .Y35 2007 (LC)+ Oversize (YCBA)
7842306
ND1928 .Y35 2007 (LC)+ Oversize (YCBA)
71833360
4877
related to
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/
14143
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:14143
oai:tms.ycba.yale.edu:14143
https://manifests.collections.yale.edu/v2/ycba/obj/14143
https://manifests.collections.yale.edu/ycba/obj/14143
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art