2024-03-28T22:37:14Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:1542024-03-27ycba:ps
YCBA/lido-TMS-154
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300033618
painting
300139140
genre subject
300033618
Painting
Soldier with Country Women Selling Ribbons, near a Military Camp
A Scene at a Camp with a Soldier Buying Ribbons, 'The Departure from Brighton'
[1985, Cormack, YCBA Concise Catalogue]
Scene from the camp at Bagshot heath
[1793, Royal Academy of Arts, London, exhibition catalogue]
Signed and dated in yellow paint, lower right: "Fr. Wheatley | 178[?]"
500303557
Yale Center for British Art
http://britishart.yale.edu
B1973.1.62
https://www.wikidata.org/wiki/Q23735872
Not on view
Yale Center for British Art
41.3080060, -72.9306282
40 x 50 inches (101.6 x 127 cm)
height
cm
101.6
width
cm
127.0
154
300054713
production
Francis Wheatley, 1747–1801, British
ycba_actor_40
http://id.loc.gov/authorities/names/n85161126
http://d-nb.info/gnd/122390555
http://en.wikipedia.org/wiki/Francis_Wheatley_(painter)
https://www.wikidata.org/wiki/Q5482749
http://isni-url.oclc.nl/isni/0000000066827060
http://viaf.org/viaf/50107566
https://n2t.net/ark:/99166/w6wj5f0p
http://www.idref.fr/157054691/id
http://vocab.getty.edu/ulan/500017459
F. Wheatley R. A.
Francis Whately
Francis Wheatly
F. Wheatley Esq., R. A.
Francis Wheatley
Wheatley, Francis, 1747-1801
Wheatley Francis, 1747–1801
Francis Wheatley, 1747–1801
Francis Wheatley, 1747–1801
1000078
7011781
7011781
British
1747
1801
male
300025103
Artist
300112172
draftsman (artist)
300025136
painter (artist)
Royal Academician
300111159
British
1788
1783
1793
22
18th century
Oil on canvas
300015050
oil paint
300014078
canvas
300054216
painting (technique)
Love, Life, Death, and Desire: An Installation of the Center's Collections (Yale Center for British Art, 2020-10-01 - 2021-02-28)
1056
https://britishart.yale.edu/node/964/
300054766
exhibition
Love, Life, Death, and Desire: An Installation of the Center's Collections
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
Yale Center for British Art
BAC
YCBA
British Art Center
1977
0
2020-10-01 - 2021-02-28
2020-10-01
2021-02-28
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
In the summer of 1991, Damien Hirst's In and Out of Love was shown for the first time in London. The installation launched Hirst's career as one of the most prominent artists of his generation and was coexistent with London’s rise as a global hub for contemporary art. --- ---
Today, the permanent half of that iconic installation, Butterfly Paintings and Ashtrays, is part of the Center’s collection. To mark this milestone, In and Out of Love (Butterfly Paintings and Ashtrays) is shown in its entirety for the first time in many years alongside works of historic, modern, and contemporary art. Among the highlights on show are Henry Fuseli’s tragic Dido, first shown at the Royal Academy in 1781; Anthony Vandyke Copley Fielding’s sublime celebration of nature in A Scene on the Coast, Merionethshire—Storm Passing Off (1818); Angelica Kauffman’s hymn to love in Rinaldo and Armida (1771); and Christopher Le Brun’s poetic meditation on beauty in Kingdom (2015). --- ---
These, and all the works on view in Love, Life, Death, and Desire, address the core themes of Hirst’s own art: love and death; beauty and suffering; permanence and fragility; the symbolic and the real; the relationships between people, places, and things; and the ambiguous boundary between art and life.
Yale Center for British Art
Francis Wheatley (Yale Center for British Art, 2005-08-31 - 2006-02-05)
240
https://britishart.yale.edu/node/666
300054766
exhibition
Francis Wheatley
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
63
Organizer
2005-08-31 - 2006-02-05
2005-08-31
2006-02-05
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
Francis Wheatley (1747–1801) inhabited myriad artistic and social worlds: Georgian London and rural Ireland, the high life of his wealthy clients and the marginal world of the theater, the Royal Academy and the print shop. His artistic output was equally broad, encompassing printmaking, portraiture, genre painting, and history painting. — —
The first section of the exhibition explored The Oliver and Ward Families and The Browne Family, looking at how Wheatley responded to his clients’ needs by portraying middle-class merchants and bankers in the trappings of country gentlemen. His four years in Ireland comprised the second part of the exhibition. During this period of artistic freedom, Wheatley abandoned his focus on studio portraiture and created some of his most important works. Sketching and painting watercolors out-of-doors, he focused his attention on the peasants and rural poor living outside of Dublin, and in the process gathered material that would serve him for the rest of his career. Returning to London in 1783, Wheatley began to create paintings for the reproductive print market and consequently expanded his subject matter to include contemporary events and historical and literary scenes. Wheatley’s depictions of peasant life were tinged with morality and eroticism in equal measure, and they were immensely popular with the print-buying public. His greatest success in the print market was his series The Cries of London, and the exhibition ended with a comprehensive display of those works. — —
Credits — —
The Worlds of Francis Wheatley was organized by the Center and highlighted its rich holdings of Wheatley’s work in all genres and media. Featuring Wheatley’s oil paintings, his evocative and delicate watercolors and drawings, and prints after his work, the exhibition was curated by Angus Trumble, Curator of Paintings and Sculpture; and A. Cassandra Albinson, Assistant Curator of Paintings and Sculpture at the Center. It was organized to complement Sensation and Sensibility: Viewing Gainsborough’s “Cottage Door.” — —
Yale Center for British Art
Canaletto to Constable: Paintings of Town and Country from the Yale Center for British Art (Wadsworth Atheneum Museum of Art, 1998-02-08 - 1998-04-26)
5
300054766
exhibition
Canaletto to Constable: Paintings of Town and Country from the Yale Center for British Art
Yale Center for British Art
Wadsworth Atheneum Museum of Art
ycba_actor_1280
http://vocab.getty.edu/ulan/500307961
Mary Herbert-Busick Assoc Registrar
Wadsworth Atheneum Museum of Art
Wadsworth Athenaeum
0
0
300311675
Borrower
1998-02-08 - 1998-04-26
1998-02-08
1998-04-26
Wadsworth Atheneum Museum of Art
ycba_actor_1280
http://vocab.getty.edu/ulan/500307961
Wadsworth Atheneum Museum of Art
Hartford
7013695
Hartford
English Romanticism (Center Gallery, Bucknell University, 1990-02-24 - 1990-04-08)
444
300054766
exhibition
English Romanticism
Yale Center for British Art
Center Gallery, Bucknell University
ycba_actor_7197
Center Gallery, Bucknell University
Bucknell University
Bucknell Art Gallery
Samek Art Gallery
1983
1999
300311675
Borrower
1990-02-24 - 1990-04-08
1990-02-24
1990-04-08
Center Gallery, Bucknell University
ycba_actor_7197
Center Gallery, Bucknell University
Lewisburg
7013880
Lewisburg
154
583000
N590.2 A83 (YCBA)
13422488
323
300054686
publication event
Malcolm Cormack, ^Concise Catalogue of Paintings in the Yale Center for British Art^, Yale Center for British Art, New Haven, CT, 1985, pp. 246-247, N590.2 A83 (YCBA)
Yale Center for British Art
Malcolm Cormack
ycba_actor_6010
Cormack Malcolm
300025492
Author
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
300025574
Publisher
1985
1985
1985
New Haven, CT
154
580032
ND466 G67 (YCBA)
7500731
2775
300054686
publication event
Catherine M. Gordon, ^British paintings Hogarth to Turner^, Frederick Warne, London, 1981, p. 72, ND466 G67 (YCBA)
Yale Center for British Art
Catherine M. Gordon
ycba_actor_11569
Gordon Catherine M.
300025492
Author
Frederick Warne
ycba_actor_11570
Frederick Warne
300025574
Publisher
1981
1981
1981
London
154
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1973
1973
1973
300138913
gift
Wheatley painted this scene of amorous interaction between countrywomen and members of the Sixteenth (Queen’s) Light Dragoons when Britain was briefly at peace. This cavalry regiment had returned from service in America in 1783 and been given its distinctive new blue uniform in 1784. Their duties until the outbreak of war with Revolutionary France in 1792 consisted of assisting the excise men in intercepting smugglers and escorting members of the royal family whenever they traveled. Their eye-catching uniforms and attendance on royalty as mounted guards made them much admired, allowing Wheatley to create this pleasing genre picture of love and flirtation tinged with the sadness of implied parting.
--- --- Gallery label for Love, Life, Death, and Desire: An Installation of the Center's Collections (Yale Center for British Art, 2020-11-01 – 2021-02-28)
154
300048722
Gallery label
2020
This painting was formerly dated to 1788, well after Wheatley returned to London from Ireland. However, the date in the lower right probably reads 1782, which means that the painting was completed in Ireland. Like Wheatley's fair scenes from the period, Soldier with Country Women Selling Ribbons fleshes out the mechanics of rural social interactions, and tinges them with eroticism. The soldier's local sweetheart, the young peasant woman standing on the left, selects a sample from the ribbon seller's colorful wares. The group is knit together through color as well as gesture and glance. The ribbons in the basket play off of the vendor's striped skirt, while the red of the sweetheart's cape echoes the red plume in the soldier's helmet, as well as his collar and sleeve trim.
During the 1780s Britain was on the brink of war with France. In anticipation of an invasion, the army established large military training camps throughout Britain and Ireland. These encampments became temporary, mobile sites of commerce and sociability for the surrounding populations. --- ---
Gallery label for Francis Wheatley (Yale Center for British Art, 2005-08-31 - 2006-02-05)
154
300048722
Gallery label
2008-08-12
300185678
ycba_term_41830
soldier
300178802
ycba_term_21364
costume
300212695
ycba_term_44518
cart
300078131
ycba_term_7881
selling
300025943
ycba_term_7002
women
300005694
ycba_term_18974
tents
300000476
ycba_term_29877
military camp
300194498
ycba_term_24594
baskets
300250148
ycba_term_2036750
horses (animals)
300139140
ycba_term_2036211
genre subject
300014668
ycba_term_111219
ribbons
300015636
ycba_term_149705
landscape
Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 246-247, N590.2 A83 (YCBA)
583000
N590.2 A83 (YCBA)
13422488
323
related to
Catherine M. Gordon, British paintings Hogarth to Turner, Frederick Warne, London, 1981, p. 72, ND466 G67 (YCBA)
580032
ND466 G67 (YCBA)
7500731
2775
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/
154
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:154
oai:tms.ycba.yale.edu:154
https://manifests.collections.yale.edu/v2/ycba/obj/154
https://manifests.collections.yale.edu/ycba/obj/154
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art