2024-03-29T05:30:38Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:2922024-03-27ycba:ps
YCBA/lido-TMS-292
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300033618
painting
300139140
genre subject
300033618
Painting
The Squire's Door
500303557
Yale Center for British Art
http://britishart.yale.edu
B1976.7.58
https://www.wikidata.org/wiki/Q23755794
Not on view
Yale Center for British Art
41.3080060, -72.9306282
15 5/16 x 12 7/8 inches (38.9 x 32.7 cm)
height
cm
38.9
width
cm
32.7
292
300054713
production
George Morland, 1763–1804, British
ycba_actor_131
http://en.wikipedia.org/wiki/George_Morland
http://viaf.org/viaf/37185990
http://d-nb.info/gnd/118584197
http://www.idref.fr/078793742/id
http://id.loc.gov/authorities/names/n83013597
http://vocab.getty.edu/ulan/500031295
https://n2t.net/ark:/99166/w6q53n3d
http://isni-url.oclc.nl/isni/0000000066297696
https://www.wikidata.org/wiki/Q2405427
Morland, George, 1763-1804
George Charles Morland
George Moreland
George Morlhnd
George Mortand
S. Morland
George Morland
Morland George, 1763–1804
George Morland, 1763–1804
George Morland, 1763–1804
7011781
7011781
British
1763
1804
male
300025103
Artist
genre painter
landscape painter
300111159
British
ca. 1790
1785
1795
22
18th century
Oil on canvas
300014078
canvas
300230810
oil paint
300054216
painting (technique)
Sidesaddle, 1690-1935 (National Sporting Library and Museum, 2018-09-07 - 2019-03-24)
966
300054766
exhibition
Sidesaddle, 1690-1935
Yale Center for British Art
National Sporting Library and Museum
ycba_actor_6208
National Sporting Library
National Sporting Library and Museum
0
0
2018-09-07 - 2019-03-24
2018-09-07
2019-03-24
National Sporting Library and Museum
ycba_actor_6208
National Sporting Library and Museum
Middleburg
2113008
Middleburg
Sensation and Sensibility: Viewing Gainsborough's " Cottage Door " (Yale Center for British Art, 2005-10-06 - 2005-12-31)
133
https://britishart.yale.edu/node/665
300054766
exhibition
Sensation and Sensibility: Viewing Gainsborough's " Cottage Door "
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://viaf.org/viaf/155449049
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
http://id.loc.gov/authorities/names/n77005277
Yale Center for British Art
British Art Center
BAC
YCBA
1977
0
300311675
Borrower
66
Lender
2005-10-06 - 2005-12-31
2005-10-06
2005-12-31
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
Taking as its focal point Thomas Gainsborough’s great landscape painting The Cottage Door, about 1780 (now in The Huntington Library, Art Collections, and Botanical Gardens), this exhibition brought together for the first time a group of paintings, prints, and drawings related to Gainsborough’s pictorial treatment of the cottage and cottage life. These works are some of the first by a British artist to embody the eighteenth-century ideal of sensibility, a movement that encouraged an emotional response to the artless beauty of nature and idealized the life of the rural peasantry. Together, Gainsborough’s scenes of cottage life form a vision of a rustic idyll that resonated powerfully with the metropolitan culture of late-eighteenth-century Britain and had an immediate impact on new modes of thinking about vision and visual perception. — —
The exhibition included modern recreations of models, viewing apparatuses, and period rooms that aimed to evoke for today’s viewers the ideas, objects, and practices that contributed to Gainsborough’s landscape vision and shaped his audiences’ emotional response to his works. The show featured a spectacular recreation of an eighteenth-century sound-and-light show, called an Eidophusikon, the original of which was created in 1781 by Gainsborough’s friend, the artist and theatrical designer Philippe-Jacques de Loutherbourg. — —
Equally exciting was the installation of The Cottage Door within a room specifically created to evoke the “Tent Room” of Sir John Leicester’s Hill Street Gallery, where the painting was displayed to great fanfare in 1818. This modern recreation—complete with fabric tenting, mirrors, and special lighting evoking the glow of oil lamps—allowed twenty-first-century visitors to experience how early viewers would have encountered Gainsborough’s painting. — —
Venues — —
Yale Center for British Art: October 6–December 31, 2005 — —
The Huntington Library, Art Collections, and Botanical Gardens: — —
February 11–May 14, 2006 — —
Credits — —
Sensation and Sensibility: Viewing Gainsborough’s “Cottage Door” was co-organized by the Center and The Huntington. It was curated by Ann Bermingham, Professor of History of Art and Architecture, University of California, Santa Barbara; in collaboration with Julia Marciari Alexander, the Center’s Associate Director for Programmatic Affairs; and Shelley Bennett, Curator of British and European Art at The Huntington. It was generously supported by grants from the Samuel H. Kress Foundation, the National Endowment for the Humanities, and the David T. Langrock Foundation.
Yale Center for British Art
Sensation and Sensibility: Viewing Gainsborough's " Cottage Door " (The Huntington Library, Art Collections, and Botanical Gardens, 2006-02-11 - 2006-05-14)
133
https://britishart.yale.edu/node/665
300054766
exhibition
Sensation and Sensibility: Viewing Gainsborough's " Cottage Door "
Yale Center for British Art
The Huntington Library, Art Collections, and Botanical Gardens
ycba_actor_2030
http://vocab.getty.edu/ulan/500293829
http://www.wikidata.org/entity/Q1400558
https://viaf.org/viaf/147236009
http://id.loc.gov/authorities/names/n79049138
The Huntington Library, Art Collections, and Botanical Gardens
0
0
300311675
Borrower
66
Lender
2006-02-11 - 2006-05-14
2006-02-11
2006-05-14
The Huntington Library, Art Collections, and Botanical Gardens
ycba_actor_2030
http://id.loc.gov/authorities/names/n79049138
http://vocab.getty.edu/ulan/500293829
http://www.wikidata.org/entity/Q1400558
https://viaf.org/viaf/147236009
The Huntington Library, Art Collections, and Botanical Gardens
San Marino
7014461
San Marino
300435424
Taking as its focal point Thomas Gainsborough’s great landscape painting The Cottage Door, about 1780 (now in The Huntington Library, Art Collections, and Botanical Gardens), this exhibition brought together for the first time a group of paintings, prints, and drawings related to Gainsborough’s pictorial treatment of the cottage and cottage life. These works are some of the first by a British artist to embody the eighteenth-century ideal of sensibility, a movement that encouraged an emotional response to the artless beauty of nature and idealized the life of the rural peasantry. Together, Gainsborough’s scenes of cottage life form a vision of a rustic idyll that resonated powerfully with the metropolitan culture of late-eighteenth-century Britain and had an immediate impact on new modes of thinking about vision and visual perception. — —
The exhibition included modern recreations of models, viewing apparatuses, and period rooms that aimed to evoke for today’s viewers the ideas, objects, and practices that contributed to Gainsborough’s landscape vision and shaped his audiences’ emotional response to his works. The show featured a spectacular recreation of an eighteenth-century sound-and-light show, called an Eidophusikon, the original of which was created in 1781 by Gainsborough’s friend, the artist and theatrical designer Philippe-Jacques de Loutherbourg. — —
Equally exciting was the installation of The Cottage Door within a room specifically created to evoke the “Tent Room” of Sir John Leicester’s Hill Street Gallery, where the painting was displayed to great fanfare in 1818. This modern recreation—complete with fabric tenting, mirrors, and special lighting evoking the glow of oil lamps—allowed twenty-first-century visitors to experience how early viewers would have encountered Gainsborough’s painting. — —
Venues — —
Yale Center for British Art: October 6–December 31, 2005 — —
The Huntington Library, Art Collections, and Botanical Gardens: — —
February 11–May 14, 2006 — —
Credits — —
Sensation and Sensibility: Viewing Gainsborough’s “Cottage Door” was co-organized by the Center and The Huntington. It was curated by Ann Bermingham, Professor of History of Art and Architecture, University of California, Santa Barbara; in collaboration with Julia Marciari Alexander, the Center’s Associate Director for Programmatic Affairs; and Shelley Bennett, Curator of British and European Art at The Huntington. It was generously supported by grants from the Samuel H. Kress Foundation, the National Endowment for the Humanities, and the David T. Langrock Foundation.
Yale Center for British Art
The New Child - The Origins of Modern Childhood in English Art 1730-1830 (Berkeley Art Museum, 1995-08-23 - 1995-11-19)
507
300054766
exhibition
The New Child - The Origins of Modern Childhood in English Art 1730-1830
Yale Center for British Art
Berkeley Art Museum
ycba_actor_6616
http://vocab.getty.edu/ulan/500308075
University of California Berkeley
Berkeley Art Museum
0
0
300311675
Borrower
1995-08-23 - 1995-11-19
1995-08-23
1995-11-19
Berkeley Art Museum
ycba_actor_6616
http://vocab.getty.edu/ulan/500308075
Berkeley Art Museum
Berkeley
7013386
Berkeley
The New Child - The Origins of Modern Childhood in English Art 1730-1830 (Dixon Gallery & Gardens, 1995-12-10 - 1996-02-04)
507
300054766
exhibition
The New Child - The Origins of Modern Childhood in English Art 1730-1830
Yale Center for British Art
Dixon Gallery & Gardens
ycba_actor_6593
http://vocab.getty.edu/ulan/500302736
Dixon Gallery & Gardens
0
0
300311675
Borrower
1995-12-10 - 1996-02-04
1995-12-10
1996-02-04
Dixon Gallery & Gardens
ycba_actor_6593
http://vocab.getty.edu/ulan/500302736
Dixon Gallery & Gardens
Memphis
7017750
Memphis
The New Child - The Origins of Modern Childhood in English Art 1730-1830 (Joslyn Art Museum, 1996-03-09 - 1996-05-05)
507
300054766
exhibition
The New Child - The Origins of Modern Childhood in English Art 1730-1830
Yale Center for British Art
Joslyn Art Museum
ycba_actor_7222
http://vocab.getty.edu/ulan/500304137
Joslyn Art Museum
0
0
300311675
Borrower
1996-03-09 - 1996-05-05
1996-03-09
1996-05-05
Joslyn Art Museum
ycba_actor_7222
http://vocab.getty.edu/ulan/500304137
Joslyn Art Museum
Omaha
7014285
Omaha
292
584062
ND1354.4 B47 1987 (YCBA)
16137197
874
300054686
publication event
Ann Bermingham, ^Landscape and ideology, the English rustic tradition, 1740-1860 ^, Thames and Hudson, London, 1987, pp. 53-54, fig. 28, ND1354.4 B47 1987 (YCBA)
Yale Center for British Art
Ann Bermingham
ycba_actor_9029
Bermingham Ann
300025492
Author
Thames and Hudson
ycba_actor_8283
Thames and Hudson
300025574
Publisher
1987
1987
1987
London
292
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. 162-163, 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
292
580032
ND466 G67 (YCBA)
7500731
2775
300054686
publication event
Catherine M. Gordon, ^British paintings Hogarth to Turner^, Frederick Warne, London, 1981, p. 44, 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
292
3569741
ND1354.4 P39 1993 (YCBA)
28148952
293
300054686
publication event
Christiana Payne, ^Toil and plenty : images of the agricultural landscape in England, 1780-1890, ^, Yale Center for British Art, New Haven, 1993, p. 36, fig. 13, ND1354.4 P39 1993 (YCBA)
Yale Center for British Art
Christiana Payne
ycba_actor_8257
Payne Christiana
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
1993
1993
1993
New Haven
292
3853869
N6766 S78 1995 OVERSIZE (YCBA)
32393859
2909
300054686
publication event
James Christen Steward, ^The New Child : British Art and the Origins of Modern Childhood, 1730-1830, ^, University Art Museum and Pacific Film Archive, UC Berkeley, Berkeley, 1995, p. 180, fig. 77, N6766 S78 1995 OVERSIZE (YCBA)
Yale Center for British Art
James Christen Steward
ycba_actor_11744
Steward James Christen
300025492
Author
University Art Museum and Pacific Film Archive, UC Berkeley
ycba_actor_11745
University Art Museum and Pacific Film Archive, UC Berkeley
300025574
Publisher
1995
1995
1995
Berkeley
292
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1976
1976
1976
300138913
gift
British country sports such as fox hunting were rituals that reinforced class distinctions at a time when a distinctive working-class consciousness was beginning to be formed. George Morland often represented the encounter between country gentry and the rural poor in his paintings, which were typically reproduced as moralizing mezzotints. In this scene, an elegant lady stops before going riding to dispense alms to a beggar girl who has come to her door. Morland represents her charity as an act of benevolence, reinforcing the social hierarchy by showing the gentry as good and the poor as submissive and dependent. Here the realities of country life are ignored, and the little girl is shown as healthy and cherubic despite her poverty, a testament to the ongoing benevolence of the squire’s daughter.\n\n
Gallery label for installation of YCBA collection, 2016
292
300048722
Gallery label
2016
300001571
ycba_term_15679
columns (architectural elements)
300139140
ycba_term_2036211
genre subject
300230869
ycba_term_106594
squires
300178802
ycba_term_21364
costume
300189571
ycba_term_7188
poor
300025945
ycba_term_35298
child
300002803
ycba_term_30573
door
300250130
ycba_term_2036348
dog (animal)
300055307
ycba_term_179
poverty
300025943
ycba_term_35295
woman
300005433
ycba_term_31315
house
300188618
ycba_term_41977
beggar
300230852
ycba_term_45601
peasant
300250148
ycba_term_2036750
horses (animals)
Ann Bermingham, Landscape and ideology, the English rustic tradition, 1740-1860, Thames and Hudson, London, 1987, pp. 53-54, fig. 28, ND1354.4 B47 1987 (YCBA)
584062
ND1354.4 B47 1987 (YCBA)
16137197
874
related to
Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 162-163, 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. 44, ND466 G67 (YCBA)
580032
ND466 G67 (YCBA)
7500731
2775
related to
Christiana Payne, Toil and plenty : images of the agricultural landscape in England, 1780-1890, , Yale Center for British Art, New Haven, 1993, p. 36, fig. 13, ND1354.4 P39 1993 (YCBA)
3569741
ND1354.4 P39 1993 (YCBA)
28148952
293
related to
James Christen Steward, The New Child : British Art and the Origins of Modern Childhood, 1730-1830, , University Art Museum and Pacific Film Archive, UC Berkeley, Berkeley, 1995, p. 180, fig. 77, N6766 S78 1995 OVERSIZE (YCBA)
3853869
N6766 S78 1995 OVERSIZE (YCBA)
32393859
2909
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/
292
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:292
oai:tms.ycba.yale.edu:292
https://manifests.collections.yale.edu/v2/ycba/obj/292
https://manifests.collections.yale.edu/ycba/obj/292
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art