2024-03-28T16:39:30Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:419352024-03-27ycba:pd
YCBA/lido-TMS-41935
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300041338
intaglio print
300117546
marine art
300028052
cartographic material
300041273
Print
Geometrical Plan of his Majesty's Dockyard, near Plymouth
Lettered within image, upper center: "A Geometrical Plan, & Weft Elevation | of His Majesty's Dock Yard, near | Plymouth 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 Harbour Hamouze"; below: "To the Rt,, Honble,, George Parker, Earl of Macclesfield | Vifcount Parker and Prefident of the Royal Society &c | This Plate is infrib'd by his Lordship's moft obedt,, Servant | Tho. Milton."; below, left: "T. Milton Surv. et delin. According to Act of Parliament"; right: "February 2d. 1756. Shipping by I. Cleveley P.C. Canot Sculp"
500303557
Yale Center for British Art
http://britishart.yale.edu
B1978.43.280
https://www.wikidata.org/wiki/Q110113648
Not on view
Yale Center for British Art
41.3080060, -72.9306282
22 1/16 × 28 13/16 inches (56 × 73.2 cm)
width
cm
73.2
height
cm
56.0
Sheet
trimmed to plate and mounted on paper
18 3/4 × 25 5/8 inches (47.6 × 65.1 cm)
height
cm
47.6
width
cm
65.1
Image
41935
300054713
production
Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain
ycba_actor_1106
https://n2t.net/ark:/99166/w6k94z9b
http://vocab.getty.edu/ulan/500002801
http://id.loc.gov/authorities/names/n50051513
https://www.wikidata.org/wiki/Q15433971
https://viaf.org/viaf/2743089
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
http://vocab.getty.edu/ulan/500024400
https://www.wikidata.org/wiki/Q7792485
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://viaf.org/viaf/95747191
http://vocab.getty.edu/ulan/500010887
https://www.wikidata.org/wiki/Q6226369
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
1756
1756
1756
22
18th century
Line engraving on medium, moderately textured, cream laid paper mounted on 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://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
41935
13078686
Vertical File V 2718 (YCBA)
13078686
3910
300054686
publication event
Laura Beach, ^Spreading Canvas : Eighteenth-Centry British Marine Painting^, Antiques and the Arts Weekly, vol. 48, Bee Publishing Company, Newtown, November 4, 2016, p. 31, Vertical File V 2718 (YCBA)
Yale Center for British Art
Laura Beach
ycba_actor_11740
Beach Laura
300025492
Author
Bee Publishing Company
ycba_actor_12682
Bee Publishing Company
300025574
Publisher
November 4, 2016
2016
2016
Newtown
41935
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. 68, no. 68, 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
41935
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. When France replaced Holland as Britain's major rival in the late seventeenth century, Plymouth and Portsmouth became the more strategically significant yards, serving as naval bases and fleet rendezvous for campaigns in the Atlantic and the Channel respectively. Chatham, Plymouth and Portsmouth, where the fleets moored during the winter or while on reserve, became employed more in repairs than shipbuilding. Depicted on the swag here is a device formed by a compass, right angle, protractor, and plumb line, the legs of the compass measuring the length of a ship plan in elevation, and the whole a reference to the tools of the shipwright’s trade. The vignette set into the headpiece shows a naval engagement, while the eight surrounding vignettes depict ships undergoing maneuvers (“About ship,” “Haul maintopsail,” “Flying to windward close hauled”) and disasters (“Breaking up,” “Blown up,” “Burnt to the water’s edge,” “Taken all aback”).
--- --- Gallery label for Spreading Canvas - Eighteenth-Century British Marine Painting (Yale Center for British Art, 2016-09-09 - 2016-12-04)
41935
300048722
Gallery label
2016
300028052
ycba_term_2042346
cartographic material
300120803
ycba_term_39885
dockyard
300126352
ycba_term_28431
coats of arms
300250465
ycba_term_97364
cherubs
300379004
ycba_term_2046400
angel
300195678
ycba_term_28589
flags
ycba_term_2036454
Union Jack
300120023
ycba_term_26549
sailboats
300232894
ycba_term_26477
longboats
300232958
ycba_term_26524
pulling boats
300073252
ycba_term_12026
smoke
300068986
ycba_term_8274
fires
300036936
ycba_term_146141
cannons
300185694
ycba_term_22638
sails
300213053
ycba_term_17027
rigging
300008375
ycba_term_32272
town
300235692
ycba_term_2036210
marine art
Hamoaze
ycba_term_2044863
Hamoaze
Plymouth
7011301
ycba_term_1879759
Plymouth
50.3830, -4.1660
England
7002445
ycba_term_1875229
England
53.0000, -2.0000
United Kingdom
7008591
ycba_term_1872354
United Kingdom
54.0000, -4.5000
Devon
7012077
ycba_term_1879636
Devon
50.7330, -3.8160
Laura Beach, Spreading Canvas : Eighteenth-Centry British Marine Painting, Antiques and the Arts Weekly, vol. 48, Bee Publishing Company, Newtown, November 4, 2016, p. 31, Vertical File V 2718 (YCBA)
13078686
Vertical File V 2718 (YCBA)
13078686
3910
related to
Eleanor Hughes, Spreading Canvas : Eighteenth-Century British Marine Painting, Yale Center for British Art, New Haven, 2016, pp. 207, 209-12, cat. 68, no. 68, 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/
41935
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:41935
oai:tms.ycba.yale.edu:41935
https://manifests.collections.yale.edu/v2/ycba/obj/41935
https://manifests.collections.yale.edu/ycba/obj/41935
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art