2024-03-28T15:14:20Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:418862024-03-27ycba:pd
YCBA/lido-TMS-41886
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
999
300041273
Print
Ragland Castle, Monmouthshire
500303557
Yale Center for British Art
http://britishart.yale.edu
B1978.43.259
Not on view
Yale Center for British Art
41.3080060, -72.9306282
15 3/4 x 21 1/8in. (40 x 53.7cm)
width
cm
53.7
height
cm
40.0
Sheet
41886
300054713
production
Valentine Green, 1739–1813, British
ycba_actor_928
http://vocab.getty.edu/ulan/500021991
http://id.loc.gov/authorities/names/no90017793
https://viaf.org/viaf/12574500
http://www.oxforddnb.com/index/11/101011405/
https://n2t.net/ark:/99166/w6km0s18
https://www.wikidata.org/wiki/Q5770067
V. Green & Son
Valentine Green
Green, Valentine, 1739-1813
Green Valentine, 1739–1813
Valentine Green, 1739–1813
Valentine Green, 1739–1813
7008178
7011781
British
1739
1813
male
300025103
Artist
300025244
publisher
300025165
engraver (printmaker)
And Francis Jukes, 1747–1812, British
ycba_actor_2397
http://vocab.getty.edu/ulan/500120300
https://www.wikidata.org/wiki/Q5481584
https://viaf.org/viaf/27335138
http://id.loc.gov/authorities/names/nr92028978
Francis Jukes
Jukes Francis, 1747–1812
Francis Jukes, 1747–1812
And Francis Jukes, 1747–1812
British
1747
1812
male
300025103
Artist
And
after William Hodges, 1744–1797, British
ycba_actor_83
https://n2t.net/ark:/99166/w6k36f34
https://www.wikidata.org/wiki/Q730841
http://id.loc.gov/authorities/names/n79055657
http://vocab.getty.edu/ulan/500031390
https://viaf.org/viaf/56866547
William Hodges R. A.
J. Hodges Esq, R. A.
S. Hodges Esq, R. A.
William Hodges
Hodges William, 1744–1797
William Hodges, 1744–1797
after William Hodges, 1744–1797
1000006
1028639
7010273
7000198
7011781
British
1744
1797
male
300025103
Artist
300025136
painter
Royal Academician
300025164
printmaker
after
1778
1778
1778
22
18th century
Colored aquatint
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
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
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
41886
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1978
1978
1978
300138913
gift
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/
41886
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:41886
oai:tms.ycba.yale.edu:41886