2024-03-28T14:49:37Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:29552024-03-27ycba:pd
YCBA/lido-TMS-2955
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300041338
intaglio print
300015636
landscape
300041273
Print
River Stour, Suffolk
Barges on the Stour, Gleams of Light on the Meadows
English Landscape: Various Subjects of Landscape, Characteristic of English Scenery, from Pictures Painted by John Constable, R.A.
Inscribed in graphite, lower left: "23B"
Lettered lower left: "Painted by John Constable R.A."; lower center: " RIVER STOUR SUFFOLK. | London. Pub. by Mr. Constable 35 Charlotte St. Fitzroy Square. 1831."; lower right: "Engraved by David Lucas."
500303557
Yale Center for British Art
http://britishart.yale.edu
B1989.5.5
https://www.wikidata.org/wiki/Q110062377
Not on view
Yale Center for British Art
41.3080060, -72.9306282
2nd published state
10 1/4 x 14 1/4 inches (26 x 36.2 cm)
height
cm
26.0
width
cm
36.2
Sheet
7 x 9 7/8 inches (17.8 x 25.1 cm)
height
cm
17.8
width
cm
25.1
Plate
5 5/8 x 8 3/4 inches (14.3 x 22.2 cm)
height
cm
14.3
width
cm
22.2
Image
2955
300054713
production
Print made by David Lucas, 1802–1881, British
ycba_actor_908
https://viaf.org/viaf/100383097
http://vocab.getty.edu/ulan/500003709
https://www.wikidata.org/wiki/Q18508114
http://id.loc.gov/authorities/names/n94041534
David Lucas
Lucas David, 1802–1881
David Lucas, 1802–1881
Print made by David Lucas, 1802–1881
British
1822
1881
male
300025103
Artist
Print made by
after John Constable, 1776–1837, British
ycba_actor_18
http://id.ndl.go.jp/auth/ndlna/00512631
http://en.wikipedia.org/wiki/John_Constable
http://isni-url.oclc.nl/isni/0000000122770039
http://viaf.org/viaf/17265725
http://libris.kb.se/resource/auth/182141
http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX895728
https://n2t.net/ark:/99166/w6wm20v2
http://d-nb.info/gnd/118521934
http://www.oxforddnb.com/view/article/6107?docPos=3
http://vocab.getty.edu/ulan/500115382
http://www.idref.fr/030345952/id
http://id.loc.gov/authorities/names/n80007977
https://www.wikidata.org/wiki/Q159297
John Constable
John Constable R. A.
Constable, John, 1776-1837
Constable John, 1776–1837
John Constable, 1776–1837
after John Constable, 1776–1837
7011827
7029248
7011781
7011781
British
1776
1837
male
300025103
Artist
300025136
painter
Royal Academician
300112172
draftsman (artist)
after
300111159
British
1831
1831
1831
24
19th century
Mezzotint on medium, slightly textured, cream laid paper
300053233
mezzotint
300014184
laid paper
Picturesque and Sublime - Thomas Cole's Trans-Atlantic Inheritance (Thomas Cole National Historic Site, 2018-04-29 - 2018-11-04)
944
300054766
exhibition
Picturesque and Sublime - Thomas Cole's Trans-Atlantic Inheritance
Yale Center for British Art
Thomas Cole National Historic Site
ycba_actor_12765
Thomas Cole National Historic Site
0
0
2018-04-29 - 2018-11-04
2018-04-29
2018-11-04
Thomas Cole National Historic Site
ycba_actor_12765
Thomas Cole National Historic Site
Catskill
7013559
Catskill
The Romantic Landscape Prints - The Chiaroscuro of Nature (Yale Center for British Art, 2002-09-25 - 2002-12-29)
166
https://britishart.yale.edu/node/683
300054766
exhibition
The Romantic Landscape Prints - The Chiaroscuro of Nature
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
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
YCBA
BAC
British Art Center
1977
0
300025633
Curator
2002-09-25 - 2002-12-29
2002-09-25
2002-12-29
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
Printmaking flourished in Britain during the late eighteenth and early nineteenth centuries, providing an ideal vehicle for Romantic artists who were constantly exploring new means of personal expression. Many painters turned to graphic media, either working independently or collaborating closely with professional engravers, to create some of the most compelling and immediate visual statements of the period. This fascinating subject was explored in successive exhibitions, The Romantic Landscape Print and The Romantic Print in the Age of Revolutions, selected from the Center’s rich print and rare book collections to complement two major exhibitions taking place at the Center that year: Romantic Watercolor: The Hickman Bacon Collection and Romantics & Revolutionaries. — —
The Romantic period was marked by a passionate aesthetic and spiritual engagement with the natural world. The Romantic Landscape Print charted this preoccupation from its origins in the late eighteenth century to its blossoming in the nineteenth century. It featured the work of artists such as J. M. W. Turner, John Constable (who coined the resonant phrase, “The chiaroscuro of Nature”), Thomas Girtin, William Blake, Samuel Palmer, and Norwich School members John Sell Cotman and John Crome. The final section, entitled “Modern Romanticism,” explored the movement’s enduring legacy in twentieth and twenty-first century landscape art, and included works by Richard Long, Hamish Fulton, and Peter Doig, whose spectacular 2001 etching Country Rock was exhibited for the first time in the United States. Special emphasis was placed on technical issues. — —
Credits — —
The exhibition was curated by Gillian Forrester, Associate Curator of Prints and Drawings at the Center, and Eric Stryker, doctoral candidate in the History of Art, Yale University. — —
Yale Center for British Art
2955
13553631
NJ18 .C67 B37 2018 (YCBA)
1005126662
4838
300054686
publication event
Timothy J. Barringer, ^Picturesque and sublime : Thomas Cole's trans-Atlantic inheritance^, Yale University Press, New Haven and London, 2018, pp. 116-19, no. 15, NJ18 .C67 B37 2018 (YCBA)
Yale Center for British Art
Timothy J. Barringer
ycba_actor_5763
Barringer Timothy J.
300025492
Author
Yale University Press
ycba_actor_7029
Yale University Press
300025574
Publisher
2018
2018
2018
New Haven and London
2955
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1989
1989
1989
300417642
purchase
United Kingdom
7008591
ycba_term_1872354
United Kingdom
54.0000, -4.5000
Suffolk
7008185
ycba_term_1879035
Suffolk
52.1660, 1.1600
Europe
1000003
ycba_term_1816338
Europe
56.2000, 15.0160
England
7002445
ycba_term_1875229
England
53.0000, -2.0000
Stour
7011543
ycba_term_1880277
Stour
51.9500, 1.3000
Timothy J. Barringer, Picturesque and sublime : Thomas Cole's trans-Atlantic inheritance, Yale University Press, New Haven and London, 2018, pp. 116-19, no. 15, NJ18 .C67 B37 2018 (YCBA)
13553631
NJ18 .C67 B37 2018 (YCBA)
1005126662
4838
related to
300055603
500303557
Yale Center for British Art
https://britishart.yale.edu
Yale Center for British Art, Paul Mellon Fund
300055598
Public Domain
300435434
https://creativecommons.org/publicdomain/zero/1.0/
2955
300133025
Volume
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:2955
oai:tms.ycba.yale.edu:2955
https://manifests.collections.yale.edu/v2/ycba/obj/2955
https://manifests.collections.yale.edu/ycba/obj/2955
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art