2024-03-28T21:30:50Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:501002024-03-27ycba:pd
YCBA/lido-TMS-50100
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300117546
marine art
300386045
historical subject
300041338
intaglio print
300041273
Print
Howe's Victory off Ushant
Inscribed in graphite, on verso, lower right: "L3261 | pair"
Watermark: 1794 | J Whatman; collector's mark, verso: Paul Mellon
Lettered below image, within border, lower center: "La Montagne Queen Charlotte"; lower right: "Queen"; below border, lower left: "Painted by Robert Dodd, 1794.; center: "This View of the Action on the Morning of the 1st of June 1794 of Breaking the French Line, which ended in a Splendid and Important Victory to the British Fleet. Is most Respectfully Inscribed | To Admiral Earl Howe Commander in Chief, Admiral Lord Graves, and Lord Bridport, Commanders in the Van and Rear, The Vice Admirals Sir George Bowyer Bart,, Benjn,, Caldwell Esqr,,Sir Allan Gardner Bart,, | and Rear Admiral Sir Thomas Pasley Bart,, The several Captains Officers, & By their Obedient Servants B.B. Evans, & R. Dodd"; below, lower right: "English Force 25 Ships of the Line & Frigates_French Force 26 Shipess of the Line & Frigates_ Loss of Do. 8 Ships of the Line."; below, center: "Published January the 25.1795. by B.B. Evans Poultry London."
500303557
Yale Center for British Art
http://britishart.yale.edu
B1977.14.11455
https://www.wikidata.org/wiki/Q106835762
Not on view
Yale Center for British Art
41.3080060, -72.9306282
20 7/8 × 30 inches (53 × 76.2 cm)
width
cm
76.2
height
cm
53.0
Sheet
partially trimmed to plate
17 1/4 × 27 15/16 inches (43.8 × 71 cm)
height
cm
43.8
width
cm
71.0
Image
50100
300054713
production
Robert Dodd, 1748–1816, British
ycba_actor_2035
http://id.loc.gov/authorities/names/n2004022235
https://www.wikidata.org/wiki/Q973073
http://vocab.getty.edu/ulan/500011308
https://viaf.org/viaf/17493150
Robert Dodd
Dodd Robert, 1748–1816
Robert Dodd, 1748–1816
Robert Dodd, 1748–1816
British
1748
1816
male
300025103
Artist
Published by Benjamin Beale Evans, ca. 1765–1824, British
ycba_actor_12208
Benjamin Beale Evans
Evans Benjamin Beale, ca. 1765–1824
Benjamin Beale Evans, ca. 1765–1824
Published by Benjamin Beale Evans, ca. 1765–1824
British
1760
1824
300025103
Artist
300025164
printmaker
300025574
publisher
Published by
300111159
British
1795
1795
1795
22
18th century
Aquatint with hand coloring in watercolor on medium, slightly textured, cream wove paper
300133555
hand coloring
300053242
aquatint
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://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
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
Behold the Sea (Yale Center for British Art, 2003-06-14 - 2003-09-07)
185
https://britishart.yale.edu/node/678
300054766
exhibition
Behold the Sea
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
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300025633
Curator
2003-06-14 - 2003-09-07
2003-06-14
2003-09-07
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
Behold, the sea itself, — —
And on its limitless, heaving breast, the ships; — —
See, where their white sails, bellying in the wind, — —
speckle the green and blue, — —
See, the steamers coming and going, steaming in — —
or out of port, — —
See, dusky and undulating, the long pennants of smoke. — —
—Walt Whitman, from “Song of the Exposition,” Leaves of Grass, 1900 — —
British Composer Ralph Vaughan Williams set these lines by Walt Whitman to music in his 1910 Sea Symphony. — —
As an island nation, Britain’s mercantile and imperial power, as well as its very survival, depended on naval prowess. Given its national importance, the sea has long been a favorite subject among British artists, writers, and musicians. Behold, the Sea Itself juxtaposed images of the sea and of ships with poetic texts. Spanning the late seventeenth through early twentieth centuries, this exhibition highlighted important themes in British maritime art, such as travel, trade and colonization, naval power, and the sublimity of storm and shipwreck. — —
Drawn from the Center’s collections of paintings, drawings, prints, and rare books, the exhibition featured works by Willem van de Velde the Elder, Charles Brooking, J. M. W. Turner, John Constable, and Richard Parkes Bonington. — —
Credits — —
The exhibition was curated by Zoë Kahr, PhD candidate in the History of Art, University College, London, and MBA candidate, Yale School of Management. — —
Yale Center for British Art
50100
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. 260-261, cat. 122, 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
50100
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
Eleanor Hughes, Spreading Canvas : Eighteenth-Century British Marine Painting, Yale Center for British Art, New Haven, 2016, p. 260-261, cat. 122, 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/
50100
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:50100
oai:tms.ycba.yale.edu:50100
https://manifests.collections.yale.edu/v2/ycba/obj/50100
https://manifests.collections.yale.edu/ycba/obj/50100
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art