2024-03-28T11:24:08Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:419302024-03-27ycba:pd
YCBA/lido-TMS-41930
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300117546
marine art
300028052
cartographic material
300041338
intaglio print
300041273
Print
Geometrical Plan of his Majesty's dockyard, at Sheerness
Watermark
Lettered within image, upper center: "A Geometrical Plan, Weft Elevation | Of His Majefty's Dock Yard and Garrison, at | Sheernefs, with the Ordnance Wharfe & c."; center left: extensive inscriptions of references to the plan; center: extensive inscriptions; center right: extensive inscriptions of references to the plan; lower center: "Part of the River Medway"; below: "To the Honble Lewis Monfon Watson | Knight of the Shire for the County of Kent, and | Auditor of the Impreft This Plate is | humbly Infcribed; by his most Obedient Servt,, Tho Milton."; below, left: "Tho. Milton Surv. et del. Publish'd according to Act of"; right: "Parliamt. 14 April 1755. Shipping by I. Clevely. P.C. Canot Sculp."
500303557
Yale Center for British Art
http://britishart.yale.edu
B1978.43.278
https://www.wikidata.org/wiki/Q110113646
Not on view
Yale Center for British Art
41.3080060, -72.9306282
22 1/8 × 28 11/16 inches (56.2 × 72.8 cm)
width
cm
72.8
height
cm
56.2
Sheet
19 13/16 × 26 15/16 inches (50.4 × 68.5 cm)
height
cm
50.4
width
cm
68.5
Plate
18 7/8 × 25 9/16 inches (48 × 64.9 cm)
height
cm
48.0
width
cm
64.9
Image
41930
300054713
production
Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain
ycba_actor_1106
http://vocab.getty.edu/ulan/500002801
https://viaf.org/viaf/2743089
https://n2t.net/ark:/99166/w6k94z9b
http://id.loc.gov/authorities/names/n50051513
https://www.wikidata.org/wiki/Q15433971
Pierre Charles Canot
Pierre-Charles Canot
Peter Charles Cannot
Pierre Cannot
Peter Charles Canot
Canot Pierre Charles, ca. 1710–1777
Pierre Charles Canot, ca. 1710–1777
Print made by Pierre Charles Canot, ca. 1710–1777
7002445
1000070
7011781
French, active in Britain
1705
1777
male
300025103
Artist
300025164
printmaker
300025165
engraver (printmaker)
Print made by
after Thomas Milton, active 1739–1756, British
ycba_actor_12440
https://www.wikidata.org/wiki/Q7792485
http://vocab.getty.edu/ulan/500024400
Thomas Milton
Milton Thomas, active 1739–1756
Thomas Milton, active 1739–1756
after Thomas Milton, active 1739–1756
British
1739
1756
male
300025103
Artist
after
shipping scene after John Cleveley the elder, ca. 1712–1777, British
ycba_actor_298
https://www.wikidata.org/wiki/Q6226369
https://viaf.org/viaf/95747191
http://vocab.getty.edu/ulan/500010887
John Cleveley the elder
John Cleveley
John Cleveley Sr.
John Cleveley I
Cleveley John the elder, ca. 1712–1777
John Cleveley the elder, ca. 1712–1777
shipping scene after John Cleveley the elder, ca. 1712–1777
7011786
7011786
British
1707
1777
male
300025103
Artist
marine painter
shipping scene after
300111188
French
1755
1755
1755
22
18th century
Line engraving on medium, moderately textured, cream laid paper
300053231
line engraving
300014184
laid paper
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://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
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
41930
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. 207, 209-12, cat. 72, no. 72, 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
41930
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
One of a series of views of the six Royal Dockyards, which were by the mid-eighteenth century the world's largest industrial complex and the state's biggest investment. These engravings present the dockyards as orderly, efficient, and rational; each makes reference to the specific functions of the dockyard represented, which depended in part on location. In November 1750, when employed at the Deptford dockyard, John Cleveley wrote to the Navy Board (which oversaw the dockyards) to notify them that he had, “In Pursuance to your Order of the 28 of September,” traveled to Sheerness to make a drawing of the Amazon, “and also a sketch of that Port,” for which service he was paid 6s 8d per day; it is tempting to surmise that the sketch was made for the purpose of the dockyard views. In accordance with its function as a dockyard primarily used for ship repairs, the vignettes bordering the primary image in this print show methods of repair and upkeep, including a view of a ship “heaving down” at Port Mahon, the navy’s main base in the Mediterranean.
--- --- Gallery label for Spreading Canvas - Eighteenth-Century British Marine Painting (Yale Center for British Art, 2016-09-09 - 2016-12-04)
41930
300048722
Gallery label
2016
300028052
ycba_term_28501
cartographic materials
300120803
ycba_term_39885
dockyard
300120023
ycba_term_26549
sailboats
300082981
ycba_term_26163
ships
ycba_term_2036454
Union Jack
300195678
ycba_term_28589
flags
300126352
ycba_term_40038
coat of arms
300232894
ycba_term_26477
longboats
300008375
ycba_term_32272
town
300235692
ycba_term_2036210
marine art
Medway
1127032
ycba_term_1880234
Medway
51.4500, 0.7330
United Kingdom
7008591
ycba_term_1872354
United Kingdom
54.0000, -4.5000
England
7002445
ycba_term_1875229
England
53.0000, -2.0000
Kent
7008153
ycba_term_1877131
Kent
51.2160, 0.6500
Sheppey
1009131
ycba_term_1877438
Sheppey
51.4160, 0.8330
Sheerness
1030587
ycba_term_1877444
Sheerness
51.4330, 0.7660
Thames
7011913
ycba_term_1880280
Thames
51.5000, 0.4667
Eleanor Hughes, Spreading Canvas : Eighteenth-Century British Marine Painting, Yale Center for British Art, New Haven, 2016, pp. 207, 209-12, cat. 72, no. 72, 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/
41930
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:41930
oai:tms.ycba.yale.edu:41930
https://manifests.collections.yale.edu/v2/ycba/obj/41930
https://manifests.collections.yale.edu/ycba/obj/41930
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art