2024-03-29T02:18:53Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:310202024-03-27ycba:pd
YCBA/lido-TMS-31020
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300041338
intaglio print
300117546
marine art
300386045
historical subject
300041273
Print
Howe's Victory off Ushant
Inscribed in graphite, on verso, lower right: "L3261 | pair"
Collector's mark, verso: Paul Mellon
Lettered below image, within border, lower left: "Royal George Queen Charlotte"; center: "Barfleur Royal Sovereign Queen"; right: "Venus Frigate"; below border, lower right: "Painted by Robert Dodd, 1794."; center: "To Admiral Earl Howe Commander in Chief; Admirals Lord Graves, and Lord Bridport, Commanders in the Van and the Rear The Vice Admirals, Sir George Bowyer Bart.,, Benjn. Caldwell Esqr Sir Allan Gardner Bart,, and Rear Admiral | Sir Thomas Pasley Bart The several Captains and Officers; This View of their gaining the Wind of the Enemy's Fleet on the Evening of the 29th of May 1794. which led to their Splendid Victory on the 1st of June following Is most respectfully Inscribed | By their Obedient Servants R. Dodd & B.B. Evans."; lower: "This point of Time represents the Queen after having led the Van along the whole of the Enemy's Line to leeward being so much disabled in her Sails & Rigging and at some distance from the body of the British Fleet, that the French Van bore up in a formed Line with the intent to cut her off; which was prevented by the Royal Sovereign leading the Van of the British down to her Assistance which caused | the French to ware and bear away to leeward."; lower center: "Published January the 25, 1795. by B.B. Evans Poultry London."
500303557
Yale Center for British Art
http://britishart.yale.edu
B1977.14.11454
https://www.wikidata.org/wiki/Q106835759
Not on view
Yale Center for British Art
41.3080060, -72.9306282
20 7/8 × 30 1/8 inches (53.1 × 76.5 cm)
width
cm
76.5
height
cm
53.1
Sheet
trimmed to plate
17 1/8 × 27 13/16 inches (43.5 × 70.6 cm)
height
cm
43.5
width
cm
70.6
Image
31020
300054713
production
Robert Dodd, 1748–1816, British
ycba_actor_2035
https://www.wikidata.org/wiki/Q973073
http://vocab.getty.edu/ulan/500011308
https://viaf.org/viaf/17493150
http://id.loc.gov/authorities/names/n2004022235
Robert Dodd
Dodd Robert, 1748–1816
Robert Dodd, 1748–1816
Robert Dodd, 1748–1816
British
1748
1816
male
300025103
Artist
Published by Benjamin Beale Evans, ca. 1765–1824, British
ycba_actor_12208
Benjamin Beale Evans
Evans Benjamin Beale, ca. 1765–1824
Benjamin Beale Evans, ca. 1765–1824
Published by Benjamin Beale Evans, ca. 1765–1824
British
1760
1824
300025103
Artist
300025164
printmaker
300025574
publisher
Published by
300111159
British
1795
1795
1795
Aquatint with hand coloring in watercolor on medium, slightly textured, cream wove paper
300133555
hand coloring
300053242
aquatint
300014187
wove paper
300015045
watercolor
Spreading Canvas - Eighteenth - Century British Marine Painting (Yale Center for British Art, 2016-09-09 - 2016-12-04)
872
https://britishart.yale.edu/node/464
https://britishart.yale.edu/node/464
300054766
exhibition
Spreading Canvas - Eighteenth - Century British Marine Painting
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
http://id.loc.gov/authorities/names/n77005277
https://viaf.org/viaf/155449049
British Art Center
Yale Center for British Art
YCBA
BAC
1977
0
2016-09-09 - 2016-12-04
2016-09-09
2016-12-04
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
This was the first major exhibition to survey the tradition of marine painting that was inextricably linked to Britain’s rise to prominence as a maritime and imperial power, and to position the genre at the heart of the burgeoning British art world of the eighteenth century. — —
The demand for marine paintings—and the prints made after them—in the eighteenth century, from ship launches to shipwrecks, naval battles to serene coastal views, reflected Britain’s absolute dependence on the sea. In an age when Britain claimed to rule the waves, marine paintings found a new importance and helped the island nation tell its stories of triumph and disaster. — —
Arranged in thematic sections within a broadly chronological framework, Spreading Canvas spanned the period between the arrival in Greenwich of the Dutch marine painters Willem van de Velde the Elder and Younger, in the early 1670s, and J. M. W. Turner’s first responses to the Battle of Trafalgar, displayed at his gallery in 1806. Featuring works by artists such as Peter Monamy, Samuel Scott, Dominic Serres, and Nicholas Pocock, the exhibition contended that the marine painters who created images of the sea and shipping in eighteenth-century Britain were more than mere stylistic inheritors of a Dutch seventeenth-century tradition; rather, they forged a uniquely British approach to their subject. — —
Drawn primarily from the collections of the Center, Spreading Canvas was augmented by spectacular loans from the National Maritime Museum in Greenwich, London, and other private and institutional collections. The exhibition included ship models, prints, paintings, sketchbooks, and letters, in order to reconstruct the full array of representational modes that were deployed throughout the century to represent the maritime exploits of the nation. Such variety also reflects the fact that marine paintings, and the artists who produced them, were fully embedded in the thriving and cosmopolitan artistic sphere of the period. — —
By including examples of the sketches, plans, and textual accounts that underlay the finished works, Spreading Canvas also revealed the processes through which marine painters constructed depictions of highly complex events that had taken place at great physical and temporal distances. But, far from functioning merely as skillful reportage, marine painting responded to and helped to shape Britain’s role on the global stage. Indeed, this exhibition demonstrated that marine painting was, from the age of tapestries to the advent of the modern panorama, both ubiquitous and fundamentally relevant to eighteenth-century British art and culture. — —
Credits — —
Spreading Canvas: Eighteenth-Century British Marine Painting was organized by the Yale Center for British Art in association with the National Maritime Museum, Greenwich, London, and curated by Eleanor Hughes, Deputy Director for Art & Program at the Walters Art Museum. The organizing curator at the Center was Matthew Hargraves, Chief Curator of Art Collections and Head of Collections Information and Access. — —
The exhibition was accompanied by a fully illustrated book, edited by Eleanor Hughes, with essays by Hughes, Richard Johns, Geoff Quilley, Christine Riding, and Catherine Roach, and contributions by Sophie Lynford, John McAleer, and Pieter van der Merwe. The volume was published by the Center in association with Yale University Press.
Yale Center for British Art
31020
12893333
ND 1373.G74 S67 2016 (YCBA)
945354556
3889
300054686
publication event
Eleanor Hughes, ^Spreading Canvas : Eighteenth-Century British Marine Painting^, Yale Center for British Art, New Haven, 2016, p. 260-261, cat. 121, ND 1373.G74 S67 2016 (YCBA)
Yale Center for British Art
Eleanor Hughes
ycba_actor_7836
Hughes Eleanor
300025526
editor
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
2016
2016
2016
New Haven
31020
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
Eleanor Hughes, Spreading Canvas : Eighteenth-Century British Marine Painting, Yale Center for British Art, New Haven, 2016, p. 260-261, cat. 121, ND 1373.G74 S67 2016 (YCBA)
12893333
ND 1373.G74 S67 2016 (YCBA)
945354556
3889
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/
31020
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:31020
oai:tms.ycba.yale.edu:31020
https://manifests.collections.yale.edu/v2/ycba/obj/31020
https://manifests.collections.yale.edu/ycba/obj/31020
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art