2024-03-29T09:16:26Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:403732024-03-28ycba:pd
YCBA/lido-TMS-40373
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300410510
literary theme
300015636
landscape
300041338
intaglio print
300041273
Print
Celadon and Amelia
Inscribed on verso in graphite, lower left: "20./ - "
Lettered lower left: "R.Wilson pinxit Londini."; lower left: "The tempest caught them on the tender walk, | _____________ from his void embrace, - | Mysterious Heaven! that moment to the ground, | A blacken'd corse, was struck the beauteous maid."; lower center: "CELADON and AMELIA | from an original picture, in the Collection of Wm. Lock Esqr. | Publifh'd June 10th. 1766 as the Act directs, by Wm. Woollett in Green Street, Leicefter Fields, & Ryland & Bryer at the King's Arms in Cornhill, London."; lower right: "But who can paint the lover, as he stood, | Pierc'd by severe amazement, hating life, | Speechless, and fix'd in all the death of woe! | Thompson's Summer, p. 1191. 1214."; lower right: "Browne Aqua forti fecit. Woollett Sculpt."
500303557
Yale Center for British Art
http://britishart.yale.edu
B1977.14.14566
https://www.wikidata.org/wiki/Q110098624
Not on view
Yale Center for British Art
41.3080060, -72.9306282
18 1/8 x 22 1/4 inches (46 x 56.5 cm)
width
cm
56.5
height
cm
46.0
Sheet
17 1/2 x 21 5/8 inches (44.5 x 54.9 cm)
height
cm
44.5
width
cm
54.9
Plate
40373
300054713
production
Print made by William Woollett, 1735–1785, British
ycba_actor_4179
http://vocab.getty.edu/ulan/500124362
http://id.loc.gov/authorities/names/n87926887
https://www.wikidata.org/wiki/Q8020568
http://www.oxforddnb.com/index/29/101029956/
https://n2t.net/ark:/99166/w605814s
https://viaf.org/viaf/21213404
William Woollett
Woollett William, 1735–1785
William Woollett, 1735–1785
Print made by William Woollett, 1735–1785
7011781
7011704
British
1735
1785
male
300025103
Artist
300025164
printmaker
300112172
draughtsman (artist)
Print made by
after Richard Wilson, 1713/4–1782, British, active in Italy (1750–56)
ycba_actor_9
http://viaf.org/viaf/257184
http://vocab.getty.edu/ulan/500022703
http://id.loc.gov/authorities/names/n83239097
https://www.wikidata.org/wiki/Q471387
https://n2t.net/ark:/99166/w64j1bzn
Richard Willson
P. Wilson
Richard Wilson
Wilson, Richard, 1713-1782
Wilson Richard, 1713/4–1782
Richard Wilson, 1713/4–1782
after Richard Wilson, 1713/4–1782
7018159
1000080
5000561
5000555
British, active in Italy (1750–56)
1713
1782
male
300025103
Artist
Royal Academician
landscape painter
after
1766
1766
1766
22
18th century
Line engraving and etching on moderately thick, moderately textured, cream wove paper
300053231
line engraving
300053241
etching (printing process)
300014187
wove paper
Richard Wilson and the Transformation of European Landscape Painting (Yale Center for British Art, 2014-03-06 - 2014-06-01)
756
https://britishart.yale.edu/node/613
300054766
exhibition
Richard Wilson and the Transformation of European Landscape Painting
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
Yale Center for British Art
YCBA
BAC
British Art Center
1977
0
300311675
Borrower
2014-03-06 - 2014-06-01
2014-03-06
2014-06-01
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 devoted to Richard Wilson (1714–1782) in thirty years. It explored Wilson’s work in its broader European contexts, focusing on his transformative experience in Rome, where he spent nearly seven years in the 1750s. The exhibition confronted fundamental questions about changes in taste in the middle years of the eighteenth century, which saw “the rise of landscape” as an independent genre that challenged accepted academic hierarchies. — —
It also explored how Wilson, as the “father of British landscape painting,” marketed his landscape art upon his return to England and how his work was understood after his death, influencing a generation of artists including John Constable and J. M. W. Turner. Many of Wilson’s greatest paintings and drawings were featured, along with key paintings by the earlier masters Claude Lorrain and Gaspard Dughet, as well as by Wilson’s contemporaries such as Pompeo Batoni, Anton Raphael Mengs, Francesco Zuccarelli, Charles Joseph Natoire, Joseph Vernet, Louis Gabriel Blanchet, and other artists associated with the Académie de France. Finally, the exhibition revealed how Wilson’s international pupils in Rome went on to become influential figures in their native countries. — —
Credits — —
Richard Wilson and the Transformation of European Landscape Painting was co-organized by the Center and Amgueddfa Cymru–National Museum Wales. It was on view at National Museum Cardiff from July 5 to October 26, 2014. The exhibition was co-curated by Robin Simon, Honorary Professor of English, University College London, and Editor, the British Art Journal, and Martin Postle, Deputy Director of Studies, the Paul Mellon Centre for Studies in British Art, London. The organizing curator at the Center was Scott Wilcox, Chief Curator of Art Collections and Senior Curator of Prints and Drawings; and, at Amgueddfa Cymru–National Museum Wales, Oliver Fairclough, Keeper of Art. The exhibition was accompanied by a book of the same title, published by the Center and Amgueddfa Cymru–National Museum Wales, in association with Yale University Press.
Yale Center for British Art
Nobleness and Grandeur - Forging Historical Landscape in Britain, 1760 - 1850 (Yale Center for British Art, 2005-01-27 - 2005-04-24)
232
https://britishart.yale.edu/node/668
300054766
exhibition
Nobleness and Grandeur - Forging Historical Landscape in Britain, 1760 - 1850
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
BAC
YCBA
Yale Center for British Art
British Art Center
1977
0
300025633
Curator
2005-01-27 - 2005-04-24
2005-01-27
2005-04-24
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
The exhibition in 1760 of Richard Wilson’s canvas The Destruction of Niobe’s Children inaugurated a new, revolutionary category of painting. By melding the established genres of landscape and history painting, the artist created a challenging hybrid: historical landscape. Praised by an anonymous critic for its “Greatness of Idea, beautiful composition, and admirable effect,” Niobe established Wilson’s reputation as an artist capable of rivaling his French and Italian counterparts, an extraordinary achievement at a time when indigenous art was considered inferior to European art by British connoisseurs. Wilson’s transformative vision earned him the title of the “father of British landscape painting,” and had a decisive impact both on his pupils, notably William Hodges, and the following generation of artists. — —
Organized to complement the exhibition William Hodges, 1744–1797: The Art of Exploration, and selected from the Center’s rich collections of paintings, prints, drawings, and rare books, Nobleness and Grandeur charted the development of historical landscape from its genesis in the mid-eighteenth century by Hodges’s mentor Richard Wilson to its culmination in the Romantic period. — —
Featuring some of Wilson’s most celebrated historical landscapes as well as works by Hodges, Thomas Gainsborough, John Hamilton Mortimer, John Martin, J. M. W. Turner, and John Constable, the exhibition offered new insights into the role played by landscape painting in the development of the political and artistic identity of eighteenth-century Britain. — —
Credits — —
The exhibition was organized by the Center and curated by Olivia Horsfall Turner, a graduate student in the History of Art, University College London, previously a graduate student in the History of Art, Yale University. — —
Yale Center for British Art
40373
9226305
V 2208 (YCBA)
1008458728
1692
300054686
publication event
Sebastian Mitchell, ^James Thomson's picture collection and British history painting^, Journal of the History of Collections, 2011, pp. 1, 2, fig. 1, V 2208 (YCBA) Full Text also Available on line (ORBIS)
Yale Center for British Art
Sebastian Mitchell
ycba_actor_9737
Mitchell Sebastian
300025492
Author
2011
2011
2011
40373
11890423
NJ18.W72 R53 2014 OVERSIZE (YCBA)
855507191
3201
300054686
publication event
Martin Postle, ^Richard Wilson and the transformation of European landscape painting^, Yale University Press, New Haven, 2014, pp. 132, 133, 284, 286, Cat. No. 101, fig. 110, NJ18.W72 R53 2014 OVERSIZE (YCBA)
Yale Center for British Art
Martin Postle
ycba_actor_8699
Postle Martin
300025526
editor
Robin Simon
ycba_actor_8543
Simon Robin
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
300403974
contributor
Yale University Press
ycba_actor_7029
Yale University Press
300025574
Publisher
2014
2014
2014
New Haven
40373
580597
NJ18 W72 S65 + (YCBA)
9399248
782
300054686
publication event
David H. Solkin, ^Richard Wilson, the landscape of reaction^, Tate Publishing, London, 1982, pp. 220-21, no. 112, no. 112, NJ18 W72 S65 + (YCBA)
Yale Center for British Art
David H. Solkin
ycba_actor_8617
Solkin David H.
300025492
Author
Tate Publishing
ycba_actor_8079
Tate Publishing
300025574
Publisher
1982
1982
1982
London
40373
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
300015636
ycba_term_149705
landscape
ycba_term_2036696
dead
300068795
ycba_term_1020
lightning
300008057
ycba_term_19010
ruins
300025617
ycba_term_34740
shepherd
300054462
ycba_term_7859
science
ycba_term_2046880
literary theme
300007836
ycba_term_32066
bridge (built work)
300054550
ycba_term_7783
meteorology
Amelia
ycba_term_2036760
Amelia
Celadon
90008363
ycba_term_2036759
Celadon
300054734
300054734
ycba_term_38693
storm
Sebastian Mitchell, James Thomson's picture collection and British history painting, Journal of the History of Collections, 2011, pp. 1, 2, fig. 1, V 2208 (YCBA) Full Text also Available on line (ORBIS)
9226305
V 2208 (YCBA)
1008458728
1692
related to
Martin Postle, Richard Wilson and the transformation of European landscape painting, Yale University Press, New Haven, 2014, pp. 132, 133, 284, 286, Cat. No. 101, fig. 110, NJ18.W72 R53 2014 OVERSIZE (YCBA)
11890423
NJ18.W72 R53 2014 OVERSIZE (YCBA)
855507191
3201
related to
David H. Solkin, Richard Wilson, the landscape of reaction, Tate Publishing, London, 1982, pp. 220-21, no. 112, no. 112, NJ18 W72 S65 + (YCBA)
580597
NJ18 W72 S65 + (YCBA)
9399248
782
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/
40373
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:40373
oai:tms.ycba.yale.edu:40373
https://manifests.collections.yale.edu/v2/ycba/obj/40373
https://manifests.collections.yale.edu/ycba/obj/40373
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art