2024-03-28T13:00:54Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:494062024-03-27ycba:pd
YCBA/lido-TMS-49406
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
999
300041273
Print
Rosehill
Views of Sussex: Rosehill
Engraved inscriptions: below image at left: "I.M.W. Turner R.A. delt."; below image at right: "I.C Stadler sculpt." and below image at center: "ROSEHILL"
500303557
Yale Center for British Art
http://britishart.yale.edu
B1977.14.13212
Not on view
Yale Center for British Art
41.3080060, -72.9306282
15 3/8 x 22in. (39.1 x 55.9cm)
height
cm
39.1
width
cm
55.9
Image
19 3/4 x 25 7/8in. (50.2 x 65.7cm)
height
cm
50.2
width
cm
65.7
Sheet
17 x 22 3/4in. (43.2 x 57.8cm)
height
cm
43.2
width
cm
57.8
Plate
49406
300054713
production
Print made by Joseph Constantine Stadler, active 1780–1812, British
ycba_actor_1162
http://vocab.getty.edu/ulan/500021527
https://www.wikidata.org/wiki/Q18508425
Joseph Constantine Stadler
J. C. Stadler
Stadler Joseph Constantine, active 1780–1812
Joseph Constantine Stadler, active 1780–1812
Print made by Joseph Constantine Stadler, active 1780–1812
British
1742
1842
male
300025103
Artist
Print made by
after Joseph Mallord William Turner, 1775–1851, British
ycba_actor_21
http://en.wikipedia.org/wiki/J._M._W._Turner
http://isni-url.oclc.nl/isni/0000000121454990
http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX865570
http://id.ndl.go.jp/auth/ndlna/00459271
http://vocab.getty.edu/ulan/500026846
http://viaf.org/viaf/100900492
http://id.loc.gov/authorities/names/n79060712
http://d-nb.info/gnd/11862475X
http://libris.kb.se/resource/auth/277878
https://n2t.net/ark:/99166/w6057d6v
https://www.wikidata.org/wiki/Q159758
http://www.idref.fr/027332446/id
http://www.oxforddnb.com/index/27/101027854/
Turner, J. M. W. (Joseph Mallord William), 1775-1851
Joseph Mallord William Turner
JMW Turner
J. M. W. Turner R. A.
Turner Joseph Mallord William, 1775–1851
Joseph Mallord William Turner, 1775–1851
after Joseph Mallord William Turner, 1775–1851
4012680
7011781
British
1775
1851
male
300025103
Artist
300025157
watercolorist
300236992
landscapist
300025136
painter (artist)
300112172
draftsman (artist)
after
300111159
British
ca. 1810
1805
1815
24
19th century
Aquatint, hand-colored
Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (Yale Center for British Art, 2007-09-27 - 2007-12-30)
553
https://britishart.yale.edu/node/654
https://britishart.yale.edu/node/654/
300054766
exhibition
Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds
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
BAC
YCBA
British Art Center
1977
0
300311675
Borrower
2007-09-27 - 2007-12-30
2007-09-27
2007-12-30
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
Organized to commemorate the bicentenary of the abolition of the British slave trade, Art and Emancipation in Jamaica was the first exhibition to focus exclusively on the visual and material culture of slavery and emancipation in Jamaica. It featured works produced in the Caribbean and Britain, including a number lent from public and private collections in Jamaica that had rarely or never been exhibited. The exhibition chronicled the iconography of sugar, slavery, and the topography of Jamaica from the beginning of British rule in 1655 to the aftermath of emancipation in the 1840s, with a particular focus on the turbulent years preceding and immediately following emancipation in 1838. Gathered together for the first time were drawings and prints depicting life on a Jamaican sugar plantation, and images used by the anti-slavery campaign. Many works were selected from the Center’s extraordinarily rich holdings relating to the Caribbean, which provided the original impetus for the exhibition. — —
At the center of the exhibition was the remarkable lithographic series Sketches of Character, In Illustration of the Habits, Occupation, and Costume of the Negro Population in the Island of Jamaica, made by Jewish Jamaican-born artist Isaac Mendes Belisario. Published in Jamaica in 1837–38, Sketches of Character provides the first detailed visual representation of Jonkonnu (or John Canoe), the celebrated Afro-Jamaican masquerade performed by the enslaved during the Christmas and New Year holidays. Tracing the West African roots of Jonkonnu, its evolution in Jamaica, and its continuing transformation into the twenty-first century, the exhibition featured Jamaican and West African costumes and musical instruments, accompanied by video footage of historic and contemporary performances, as well as a specially commissioned sound track. The exhibition concluded with work by contemporary Jamaican and Afro-Caribbean artists investigating the complex legacy of slavery and emancipation. — —
Credits — —
Art and Emancipation in Jamaica was curated by Gillian Forrester, Associate Curator of Prints and Drawings at the Center; Tim Barringer, Paul Mellon Professor of the History of Art, Yale University; and Barbaro Martinez-Ruiz, Assistant Professor, Department of Art History, Stanford University. Generous support for the project was provided by the Reed Foundation.
Yale Center for British Art
300435424
Organized to commemorate the bicentenary of the abolition of the British slave trade, Art and Emancipation in Jamaica was the first exhibition to focus exclusively on the visual and material culture of slavery and emancipation in Jamaica. It featured works produced in the Caribbean and Britain, including a number lent from public and private collections in Jamaica that had rarely or never been exhibited. The exhibition chronicled the iconography of sugar, slavery, and the topography of Jamaica from the beginning of British rule in 1655 to the aftermath of emancipation in the 1840s, with a particular focus on the turbulent years preceding and immediately following emancipation in 1838. Gathered together for the first time were drawings and prints depicting life on a Jamaican sugar plantation, and images used by the anti-slavery campaign. Many works were selected from the Center’s extraordinarily rich holdings relating to the Caribbean, which provided the original impetus for the exhibition. — —
At the center of the exhibition was the remarkable lithographic series Sketches of Character, In Illustration of the Habits, Occupation, and Costume of the Negro Population in the Island of Jamaica, made by Jewish Jamaican-born artist Isaac Mendes Belisario. Published in Jamaica in 1837–38, Sketches of Character provides the first detailed visual representation of Jonkonnu (or John Canoe), the celebrated Afro-Jamaican masquerade performed by the enslaved during the Christmas and New Year holidays. Tracing the West African roots of Jonkonnu, its evolution in Jamaica, and its continuing transformation into the twenty-first century, the exhibition featured Jamaican and West African costumes and musical instruments, accompanied by video footage of historic and contemporary performances, as well as a specially commissioned sound track. The exhibition concluded with work by contemporary Jamaican and Afro-Caribbean artists investigating the complex legacy of slavery and emancipation. — —
Credits — —
Art and Emancipation in Jamaica was curated by Gillian Forrester, Associate Curator of Prints and Drawings at the Center; Tim Barringer, Paul Mellon Professor of the History of Art, Yale University; and Barbaro Martinez-Ruiz, Assistant Professor, Department of Art History, Stanford University. Generous support for the project was provided by the Reed Foundation.
Yale Center for British Art
49406
7975878
N8243 S576 B37 2007 OVERSIZE (YCBA)
128236950
3652
300054686
publication event
Timothy J. Barringer, ^Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds^, Yale Center for British Art, New Haven, 2007, pp. 340-41, no. 68, N8243 S576 B37 2007 OVERSIZE (YCBA)
Yale Center for British Art
Timothy J. Barringer
ycba_actor_5763
Barringer Timothy J.
300025492
Author
Gillian Forrester, British
ycba_actor_2052
Forrester Gillian
300025492
Author
Bárbaro Martinez-Ruiz
ycba_actor_14382
Martinez-Ruiz Bárbaro
300025492
Author
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
2007
2007
2007
New Haven
49406
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1977
1977
1977
300138913
gift
Like many wealthy planters, John (known as "Jack") Fuller seems never to have even visited Jamaica, entrusting the administration of his estates there to attorneys and factors. Fuller was a vociferous opponent of the abolition of the slave trade, declaring that living conditions of the enslaved in the West Indies were "equal, nay, superior to the condition of the labouring poor of this country." He was also an important patron of the landscape painter J. M. W. Turner, and commissioned several views of his British estates from the artist. Turner never articulated his views on slavery in words but his extraordinary painting Slavers Throwing Overboard the Dead and Dying: Typhoon Coming On (exhibited 1840; Museum of Fine Arts, Boston) is a profound and unequivocal critique of the slave trade.
--- --- Gallery label for Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (Yale Center for British Art, 2007-09-27 - 2007-12-30)
49406
300048722
Gallery label
2007
Timothy J. Barringer, Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds, Yale Center for British Art, New Haven, 2007, pp. 340-41, no. 68, N8243 S576 B37 2007 OVERSIZE (YCBA)
7975878
N8243 S576 B37 2007 OVERSIZE (YCBA)
128236950
3652
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/
49406
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:49406
oai:tms.ycba.yale.edu:49406
https://manifests.collections.yale.edu/v2/ycba/obj/49406
https://manifests.collections.yale.edu/ycba/obj/49406
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art