2024-03-28T14:00:54Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:45312024-03-27ycba:pd
YCBA/lido-TMS-4531
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300117546
marine art
300389974
military art
300041338
intaglio print
300041273
Print
The taking of Porto Bello by Vice Admiral Vernon on the 22nd of Novr. 1739 with Six Men of War only
Watermark: "J Ruse | 1802"
Lettered below image, lower left:"pinxt. Publisd according to act of Parliament." ; center: "The taking of Porto Bello by Vice Admiral Vernon on the 22d. of Novr. 1739 with Six Men of War only. | London Printed for Bowles & Carver No. 69 St. Pauls Church Yard & Robert Wilkinson No. 58 Cornhill."; lower right: "R. Parr sculp. from the Original Painting in Vaux-hall Garden."
500303557
Yale Center for British Art
http://britishart.yale.edu
B1995.13.138
Not on view
Yale Center for British Art
41.3080060, -72.9306282
12 5/16 × 18 1/8 inches (31.3 × 46 cm)
width
cm
46.0
height
cm
31.3
Sheet
11 9/16 × 14 3/8 inches (29.4 × 36.5 cm)
height
cm
29.4
width
cm
36.5
Plate
10 5/16 × 14 1/16 inches (26.2 × 35.7 cm)
height
cm
26.2
width
cm
35.7
Image
4531
300054713
production
Print made by Remi Parr, active 1723–1750, British
ycba_actor_4343
https://www.wikidata.org/wiki/Q18757028
http://vocab.getty.edu/ulan/500002317
Remi Parr
Parr Remi, active 1723–1750
Remi Parr, active 1723–1750
Print made by Remi Parr, active 1723–1750
British
1687
1787
male
300025103
Artist
Print made by
after Peter Monamy, 1681–1749, British
ycba_actor_96
http://vocab.getty.edu/ulan/500011814
http://id.loc.gov/authorities/names/nr00036417
https://www.wikidata.org/wiki/Q2012122
https://viaf.org/viaf/27960681
Peter Monami
Peter Monamie
Peter Monimi
Peter Mononry
Peter Monony
Peter Mundmy
Peter Monamy
Monamy Peter, 1681–1749
Peter Monamy, 1681–1749
after Peter Monamy, 1681–1749
7018905
7011781
British
1681
1749
male
300025103
Artist
marine painter
after
Published by Bowles & Carver, 1763–1830, British
ycba_actor_12181
https://www.wikidata.org/wiki/Q24203917
Bowles & Carver
Carington Bowles II
Henry Carington Bowles
Samuel Carver
Bowles & Carver, 1763–1830
Bowles & Carver, 1763–1830
Published by Bowles & Carver, 1763–1830
British
1763
1830
300025103
Artist
300025732
printer (person)
300025164
printmaker
Published by
Published by Robert Wilkinson, 1758–1825, British
ycba_actor_10841
https://www.wikidata.org/wiki/Q7351069
Robert Wilkinson
Wilkinson Robert, 1758–1825
Robert Wilkinson, 1758–1825
Published by Robert Wilkinson, 1758–1825
7011781
British
1758
1825
male
300025103
Artist
300025732
printer (person)
printseller
300025244
publisher
Published by
300111159
British
undated
1800
1830
24
19th century
Line engraving with hand coloring in watercolor on medium, slightly textured, cream wove paper
300133555
hand coloring
300053231
line engraving
300014187
wove paper
300015045
watercolor
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
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
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
4531
11170724
SB451.36.G7 P54 2013 (YCBA)
785870981
2724
300054686
publication event
Jonathan Conlin, ^The pleasure garden , from Vauxhall to Coney Island, ^, University of Pennsylvania Press, Philadelphia, 2013, pp. 84-86, fig. 3.2, SB451.36.G7 P54 2013 (YCBA) Also available online (ORBIS) [Project Muse]
Yale Center for British Art
Jonathan Conlin
ycba_actor_11525
Conlin Jonathan
300025526
editor
University of Pennsylvania Press
ycba_actor_8551
University of Pennsylvania Press
300025574
Publisher
2013
2013
2013
Philadelphia
4531
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, p. 3, 161, 163, cat. 24, fig. 4, 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
4531
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1995
1995
1995
300138913
gift
The capture of Puerto Bello, the Spanish trading post on the coast of present-day Panama, was the most celebrated British naval victory of the first half of the eighteenth century. Admiral Edward Vernon, a fierce critic of Prime Minister Robert Walpole and what he saw as insufficiently assertive policies with regard to national trade and the maintenance of the navy, had boasted to Parliament in 1729 that he could take Porto Bello, as it was then known, with “six ships only.” Mounting hostilities between Britain and Spain in the 1730s broke out into war, and, in 1739, Vernon made good on his promise. News of the capture reached London in March 1740, and Monamy’s painting appears to have been installed at Vauxhall in a matter of weeks: Frederick, Prince of Wales (son of George II), and his wife, Augusta, viewed it there on May 19. Monamy’s composition provides a legible depiction of the action as it was described in published reports. The painting was one of a range of cultural productions that celebrated Vernon as a national hero.
--- --- Gallery label for Spreading Canvas - Eighteenth-Century British Marine Painting (Yale Center for British Art, 2016-09-09 - 2016-12-04)
4531
300048722
Gallery label
2016
300235692
ycba_term_27249
marines (visual works)
300006891
ycba_term_31780
castle
300137544
ycba_term_40522
navy
300185692
ycba_term_41835
battle
300232958
ycba_term_95516
rowboats
300008694
ycba_term_110086
sea
ycba_term_2046827
military art
300073252
ycba_term_12026
smoke
300008777
ycba_term_17558
hills
300082981
ycba_term_26163
ships
Q32929
Q32929
ycba_term_2055004
War of the Austrian Succession (1740-48)
Portobelo
7006460
ycba_term_879574
Portobelo
9.5500, -79.6160
Central America
7016739
ycba_term_1803767
Central America
10.0000, -80.0000
Panama
7005565
ycba_term_879417
Panama
9.0000, -80.0000
Colón
7006458
ycba_term_879571
Colón
9.3500, -79.9000
Jonathan Conlin, The pleasure garden , from Vauxhall to Coney Island, , University of Pennsylvania Press, Philadelphia, 2013, pp. 84-86, fig. 3.2, SB451.36.G7 P54 2013 (YCBA) Also available online (ORBIS) [Project Muse]
11170724
SB451.36.G7 P54 2013 (YCBA)
785870981
2724
related to
Eleanor Hughes, Spreading Canvas : Eighteenth-Century British Marine Painting, Yale Center for British Art, New Haven, 2016, p. 3, 161, 163, cat. 24, fig. 4, 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/
4531
300133025
Volume
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:4531
oai:tms.ycba.yale.edu:4531
https://manifests.collections.yale.edu/v2/ycba/obj/4531
https://manifests.collections.yale.edu/ycba/obj/4531
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art