2024-03-29T05:30:59Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:419102024-03-27ycba:pd
YCBA/lido-TMS-41910
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300117546
marine art
300417318
architectural subject
300041338
intaglio print
300041273
Print
Fort St. George
Watermark
Lettered below image, lower left: "Painted & Delineated by Lambert. | & Scot"; below: "London, Printed for John Bowles in Cornhil, Carington Bowles in St,, Pauls Church Yard, & Robt,, Sayer in Fleet Street."; center: "Fort St: George."; lower right: "Engrav'd by G. Vandergucht"; below: "Publifh'd pursuant to an Act of Parliament."
500303557
Yale Center for British Art
http://britishart.yale.edu
B1978.43.272
https://www.wikidata.org/wiki/Q110113626
Not on view
Yale Center for British Art
41.3080060, -72.9306282
18 1/8 × 23 3/4 inches (46 × 60.3 cm)
width
cm
60.3
height
cm
46.0
Sheet
partially trimmed to plate
15 3/4 × 22 3/8 inches (40 × 56.8 cm)
height
cm
40.0
width
cm
56.8
Image
41910
300054713
production
Print made by Gerard van der Gucht, 1696–1776, British
ycba_actor_5583
http://id.loc.gov/authorities/names/nr94010434
http://vocab.getty.edu/ulan/500007622
https://www.wikidata.org/wiki/Q5550181
https://viaf.org/viaf/17401028
https://n2t.net/ark:/99166/w6vx7ztw
Gerard van der Gucht
Gucht Gerard van der, 1696–1776
Gerard van der Gucht, 1696–1776
Print made by Gerard van der Gucht, 1696–1776
British
1696
1776
male
300025103
Artist
Print made by
after Samuel Scott, 1701/2–1772, British
ycba_actor_12
http://id.loc.gov/authorities/names/nr92043230
http://en.wikipedia.org/wiki/Samuel_Scott_(painter)
https://www.wikidata.org/wiki/Q2542057
http://viaf.org/viaf/95846663
http://vocab.getty.edu/ulan/500026724
Samuel Scot
Samuel Scott
Scott, Samuel, approximately 1710-1772
Scott Samuel, 1701/2–1772
Samuel Scott, 1701/2–1772
after Samuel Scott, 1701/2–1772
7011197
7011781
British
1701
1772
male
300025103
Artist
300025136
painter
after
and George Lambert, 1700–1765, British
ycba_actor_177
https://n2t.net/ark:/99166/w66q36w6
http://vocab.getty.edu/ulan/500006076
https://viaf.org/viaf/95717912
http://id.loc.gov/authorities/names/nr92032833
https://www.wikidata.org/wiki/Q2545000
George Lambert
Lambert George, 1700–1765
George Lambert, 1700–1765
and George Lambert, 1700–1765
7011781
7011781
British
1700
1765
male
300025103
Artist
300025165
engraver (printmaker)
300025164
printmaker
landscape painter
300025681
scenographer
300025157
watercolorist
and
commissioned in 1732 by East India Company, 1600–1874, British
ycba_actor_13941
http://vocab.getty.edu/ulan/500274758
East India Company
East India Company, 1600–1874
East India Company, 1600–1874
commissioned in 1732 by East India Company, 1600–1874
British
1600
1874
300025103
Artist
commissioned in 1732 by
300111159
British
1736
1736
1736
22
18th century
Line engraving with hand coloring in watercolor on medium, slightly textured, cream laid paper
300133555
hand coloring
300053231
line engraving
300014184
laid paper
300015045
watercolor
Art in Focus : Blue (Yale Center for British Art, 2019-04-05 - 2019-08-11)
993
https://britishart.yale.edu/node/450/
300054766
exhibition
Art in Focus : Blue
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
http://id.loc.gov/authorities/names/n77005277
Yale Center for British Art
YCBA
BAC
British Art Center
1977
0
2019-04-05 - 2019-08-11
2019-04-05
2019-08-11
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 exhibition used the color blue to trace a visual and material history of British exploration, trade, and colonialism. Starting from a consideration of Britain’s growing control over maritime trade, this display proceeded to examine how blue was used to depict the landscapes and peoples of the “Orient” in the eighteenth and nineteenth centuries and concluded with a consideration of the postcolonial interventions of Anish Kapoor. --- ---
Credits --- ---
Art in Focus is an annual initiative for members of the Center’s Student Guide Program, providing Yale undergraduates with curatorial experience and an introduction to all aspects of exhibition practice. The student guide curators for Art in Focus: Blue were Merritt Barnwell, SY ’21; Sunnie Liu, JE ’21; Sohum Pal, BR ’20; Jordan Schmolka, SM ’20; and Muriel Wang, TC ’20. In researching and presenting the exhibition, the students were led by Linda Friedlaender, Senior Curator of Education, and Jennifer Reynolds-Kaye, Curator of Education and Academic Outreach. --- ---
This exhibition and the accompanying brochure were generously supported by the Marlene Burston Fund and the Dr. Carolyn M. Kaelin Memorial Fund.
Yale Center for British Art
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
http://id.loc.gov/authorities/names/n77005277
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
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
41910
688057
N1 B87 + OVERSIZE (YCBA)
05461534
4524
300054686
publication event
Hilda F. Finberg, ^Samuel Scott^, Burlington Magazine for Connoisseurs, V. 81, London, 1942, N1 B87 + OVERSIZE (YCBA) Also available online at JSTOR
Yale Center for British Art
Hilda F. Finberg
ycba_actor_11060
Finberg Hilda F.
300025492
Author
1942
1942
1942
London
41910
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, pp. 204-05, cat. 65, no. 65, 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
41910
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
Fort St. George was established by the East India Company on the west coast of India in 1639. The fort, and the city of Madras that developed around it, became one of the most important trading stations in India. The area around Madras (present-day Chennai) initially attracted both the Portuguese and the Dutch, who had settled in the region before the arrival of the English East India Company in the early seventeenth century. The first English settlement was officially established when a fortified enclosure was completed on St. George’s Day, April 23, in 1640. The eighteenth-century city of Madras developed through the gradual assimilation of Fort St. George into the so-called “Blacktown” inhabited by Tamil- and Telugu-speaking merchants, Armenians, and Indo-Portuguese. This was the East India Company’s principal settlement in India until 1774, when Calcutta was officially declared to be the seat of the government.
--- --- Gallery label for Spreading Canvas - Eighteenth-Century British Marine Painting (Yale Center for British Art, 2016-09-09 - 2016-12-04)
41910
300048722
Gallery label
2016
ycba_term_2036212
architectural subject
300006909
ycba_term_31786
fort
300082981
ycba_term_26163
ships
300232958
ycba_term_26524
pulling boats
300120023
ycba_term_26549
sailboats
300025245
ycba_term_6393
merchants
300000951
ycba_term_16139
masts
300036936
ycba_term_146141
cannons
300073252
ycba_term_12026
smoke
300008795
ycba_term_17557
mountains
300235692
ycba_term_2036210
marine art
300343840
ycba_term_2036248
clouds
ycba_term_2036258
sky
300006888
ycba_term_31778
fortification
300008889
ycba_term_32431
lawn
300192061
ycba_term_42250
weathervane
300024979
ycba_term_6204
people
300136375
ycba_term_6817
seamen
300213053
ycba_term_17027
rigging
Fort St. George
7574192
ycba_term_2052830
Fort St. George
Bay of Bengal
1112667
ycba_term_2045493
Bay of Bengal
12.0000, 83.0000
India
7000198
ycba_term_1925121
India
20.0000, 77.0000
Tamil Nadu
7001797
ycba_term_1928613
Tamil Nadu
11.0000, 78.0000
Chennai
7001562
ycba_term_2045487
Chennai
13.8300, 80.3000
Hilda F. Finberg, Samuel Scott, Burlington Magazine for Connoisseurs, V. 81, London, 1942, N1 B87 + OVERSIZE (YCBA) Also available online at JSTOR
688057
N1 B87 + OVERSIZE (YCBA)
05461534
4524
related to
Eleanor Hughes, Spreading Canvas : Eighteenth-Century British Marine Painting, Yale Center for British Art, New Haven, 2016, pp. 204-05, cat. 65, no. 65, 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/
41910
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:41910
oai:tms.ycba.yale.edu:41910
https://manifests.collections.yale.edu/v2/ycba/obj/41910
https://manifests.collections.yale.edu/ycba/obj/41910
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art