2024-03-29T15:10:46Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:228492024-03-28ycba:pd
YCBA/lido-TMS-22849
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
999
300041273
Print
Synagogue, Duke's Place, Houndsditch
500303557
Yale Center for British Art
http://britishart.yale.edu
B1975.6.58
https://www.wikidata.org/wiki/Q109943414
Not on view
Yale Center for British Art
41.3080060, -72.9306282
22849
300054713
production
Thomas Sunderland, 1744–1828, British
ycba_actor_2228
https://viaf.org/viaf/95813105
http://vocab.getty.edu/ulan/500021396
https://www.wikidata.org/wiki/Q42752298
Thomas Sunderland
Sunderland Thomas, 1744–1828
Thomas Sunderland, 1744–1828
Thomas Sunderland, 1744–1828
British
1744
1828
male
300025103
Artist
300025136
painter
after Augustus Charles Pugin, 1762–1832, French
ycba_actor_1500
https://n2t.net/ark:/99166/w6f19g5n
http://vocab.getty.edu/ulan/500020563
http://en.wikipedia.org/wiki/Augustus_Charles_Pugin
https://www.wikidata.org/wiki/Q2871122
http://d-nb.info/gnd/11859706X
http://id.loc.gov/authorities/names/n82272435
http://isni-url.oclc.nl/isni/0000000108959492
http://libris.kb.se/resource/auth/222467
http://viaf.org/viaf/46833997
http://www.idref.fr/085103691/id
Augustus Charles Pugin
Pugin Augustus Charles, 1762–1832
Augustus Charles Pugin, 1762–1832
after Augustus Charles Pugin, 1762–1832
French
1762
1832
male
300025103
Artist
after
and Thomas Rowlandson, 1756–1827, British
ycba_actor_731
http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX882200
http://libris.kb.se/resource/auth/260637
http://d-nb.info/gnd/118603485
http://viaf.org/viaf/56672964
http://id.loc.gov/authorities/names/n50022330
http://isni-url.oclc.nl/isni/0000000121341830
http://en.wikipedia.org/wiki/Thomas_Rowlandson
https://www.wikidata.org/wiki/Q318584
https://n2t.net/ark:/99166/w6jd529p
http://www.idref.fr/031710905/id
http://vocab.getty.edu/ulan/500006930
http://www.oxforddnb.com/view/article/24221
Thomas Rollandson
Thomas Rowlandson
Rowlandson Thomas, 1756–1827
Thomas Rowlandson, 1756–1827
and Thomas Rowlandson, 1756–1827
1000080
1000070
7011781
7011781
British
1756
1827
male
300025103
Artist
300025123
illustrator
300025108
caricaturist
300025165
engraver (printmaker)
300112172
draftsman (artist)
300025164
printmaker
300025157
watercolorist
and
300111159
British
1808
1808
1808
24
19th century
Colored aquatint
Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (Yale Center for British Art, 2007-09-27 - 2007-12-30)
553
https://britishart.yale.edu/node/654
https://britishart.yale.edu/node/654/
300054766
exhibition
Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds
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
300311675
Borrower
2007-09-27 - 2007-12-30
2007-09-27
2007-12-30
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
Organized to commemorate the bicentenary of the abolition of the British slave trade, Art and Emancipation in Jamaica was the first exhibition to focus exclusively on the visual and material culture of slavery and emancipation in Jamaica. It featured works produced in the Caribbean and Britain, including a number lent from public and private collections in Jamaica that had rarely or never been exhibited. The exhibition chronicled the iconography of sugar, slavery, and the topography of Jamaica from the beginning of British rule in 1655 to the aftermath of emancipation in the 1840s, with a particular focus on the turbulent years preceding and immediately following emancipation in 1838. Gathered together for the first time were drawings and prints depicting life on a Jamaican sugar plantation, and images used by the anti-slavery campaign. Many works were selected from the Center’s extraordinarily rich holdings relating to the Caribbean, which provided the original impetus for the exhibition. — —
At the center of the exhibition was the remarkable lithographic series Sketches of Character, In Illustration of the Habits, Occupation, and Costume of the Negro Population in the Island of Jamaica, made by Jewish Jamaican-born artist Isaac Mendes Belisario. Published in Jamaica in 1837–38, Sketches of Character provides the first detailed visual representation of Jonkonnu (or John Canoe), the celebrated Afro-Jamaican masquerade performed by the enslaved during the Christmas and New Year holidays. Tracing the West African roots of Jonkonnu, its evolution in Jamaica, and its continuing transformation into the twenty-first century, the exhibition featured Jamaican and West African costumes and musical instruments, accompanied by video footage of historic and contemporary performances, as well as a specially commissioned sound track. The exhibition concluded with work by contemporary Jamaican and Afro-Caribbean artists investigating the complex legacy of slavery and emancipation. — —
Credits — —
Art and Emancipation in Jamaica was curated by Gillian Forrester, Associate Curator of Prints and Drawings at the Center; Tim Barringer, Paul Mellon Professor of the History of Art, Yale University; and Barbaro Martinez-Ruiz, Assistant Professor, Department of Art History, Stanford University. Generous support for the project was provided by the Reed Foundation.
Yale Center for British Art
300435424
Organized to commemorate the bicentenary of the abolition of the British slave trade, Art and Emancipation in Jamaica was the first exhibition to focus exclusively on the visual and material culture of slavery and emancipation in Jamaica. It featured works produced in the Caribbean and Britain, including a number lent from public and private collections in Jamaica that had rarely or never been exhibited. The exhibition chronicled the iconography of sugar, slavery, and the topography of Jamaica from the beginning of British rule in 1655 to the aftermath of emancipation in the 1840s, with a particular focus on the turbulent years preceding and immediately following emancipation in 1838. Gathered together for the first time were drawings and prints depicting life on a Jamaican sugar plantation, and images used by the anti-slavery campaign. Many works were selected from the Center’s extraordinarily rich holdings relating to the Caribbean, which provided the original impetus for the exhibition. — —
At the center of the exhibition was the remarkable lithographic series Sketches of Character, In Illustration of the Habits, Occupation, and Costume of the Negro Population in the Island of Jamaica, made by Jewish Jamaican-born artist Isaac Mendes Belisario. Published in Jamaica in 1837–38, Sketches of Character provides the first detailed visual representation of Jonkonnu (or John Canoe), the celebrated Afro-Jamaican masquerade performed by the enslaved during the Christmas and New Year holidays. Tracing the West African roots of Jonkonnu, its evolution in Jamaica, and its continuing transformation into the twenty-first century, the exhibition featured Jamaican and West African costumes and musical instruments, accompanied by video footage of historic and contemporary performances, as well as a specially commissioned sound track. The exhibition concluded with work by contemporary Jamaican and Afro-Caribbean artists investigating the complex legacy of slavery and emancipation. — —
Credits — —
Art and Emancipation in Jamaica was curated by Gillian Forrester, Associate Curator of Prints and Drawings at the Center; Tim Barringer, Paul Mellon Professor of the History of Art, Yale University; and Barbaro Martinez-Ruiz, Assistant Professor, Department of Art History, Stanford University. Generous support for the project was provided by the Reed Foundation.
Yale Center for British Art
22849
7975878
N8243 S576 B37 2007 OVERSIZE (YCBA)
128236950
3652
300054686
publication event
Timothy J. Barringer, ^Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds^, Yale Center for British Art, New Haven, 2007, pp. 397-99, no. 106, N8243 S576 B37 2007 OVERSIZE (YCBA)
Yale Center for British Art
Timothy J. Barringer
ycba_actor_5763
Barringer Timothy J.
300025492
Author
Gillian Forrester, British
ycba_actor_2052
Forrester Gillian
300025492
Author
Bárbaro Martinez-Ruiz
ycba_actor_14382
Martinez-Ruiz Bárbaro
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
2007
2007
2007
New Haven
22849
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
Isaac Mendes Belisario was an active member of the Bevis Marks congregation. The first Sephardic synagogue to be established in London after Jewish resettlement in England was sanctioned by Oliver Cromwell in 1656. It opened in 1657 in a private house, but by the early 1690s the congregation had outgrown the space, and an elegant new building in nearby Bevis Marks was commissioned in 1694 and opened in 1701.
Belisario made this watercolor of the interior of the synagogue around 1816, and the following year published the aquatint engraving made by Daniel Havell, which he dedicated to the congregation. Belisario's faithful rendering carefully delineates significant elements of the interior, including the ark, the reader's desk, and the women's balcony. The central figure may be a portrait of Raphael Meldola (1754-1828), who was chief rabbi at Bevis Marks from 1805 until his death.
In the early nineteenth century there were six synagogues in London, the largest of which was the Great Synagogue, situated adjacent to Bevis Marks in Duke's Place. Founded in 1690 by Askenazic Jews, whose numbers had grown exponentially in the prior decade, the Great Synagogue represented a breakaway congregation from Bevis Marks, which up to that point had been London's only synagogue.
--- --- Gallery label for Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (Yale Center for British Art, 2007-09-27 - 2007-12-30)
22849
300048722
Gallery label
2007
Timothy J. Barringer, Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds, Yale Center for British Art, New Haven, 2007, pp. 397-99, no. 106, N8243 S576 B37 2007 OVERSIZE (YCBA)
7975878
N8243 S576 B37 2007 OVERSIZE (YCBA)
128236950
3652
related to
300055603
500303557
Yale Center for British Art
https://britishart.yale.edu
Yale Center for British Art, Gift of Chauncey Brewster Tinker
300055598
Public Domain
300435434
https://creativecommons.org/publicdomain/zero/1.0/
22849
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:22849
oai:tms.ycba.yale.edu:22849
https://manifests.collections.yale.edu/v2/ycba/obj/22849
https://manifests.collections.yale.edu/ycba/obj/22849
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art