2024-03-29T13:22:42Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:541112024-03-28ycba:pd
YCBA/lido-TMS-54111
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
999
300041273
Print
A View in the Island of Jamaica of the Bridge crossing the Cabaritta River on the Estate of William Beckford Esqr.
Inscribed in plate, below, center: "John Boydell excudit 1778."; below: "A VIEW IN THE ISLAND OF JAMAICA,"; below: "of the Bridge crossing the Cabaritta River, on the Estate of William Beckford Esq.r"; below: "To whom this Plate is Dedicated, by his most Obliged Servant, JOHN BOYDELL."; below: "Published March 25th, 1778 by John Boydell Engraver in Cheapside London."; below, left: "Drawn on the Spot & Painted by George Robertson."; below, right: "Engraved by Daniel Lerpiniere."; bottom left: "N.o 4."
500303557
Yale Center for British Art
http://britishart.yale.edu
B2001.2.1521
Not on view
Yale Center for British Art
41.3080060, -72.9306282
13 3/4 x 20 1/2in. (34.9 x 52.1cm)
height
cm
34.9
width
cm
52.1
Image
18 1/2 x 22 1/4in. (47 x 56.5cm)
height
cm
47.0
width
cm
56.5
Sheet
15 3/4 x 21 1/2in. (40 x 54.6cm)
height
cm
40.0
width
cm
54.6
Plate
54111
300054713
production
Daniel Lerpiniere, c.1745–1785, British
ycba_actor_2916
https://www.wikidata.org/wiki/Q18670961
http://id.loc.gov/authorities/names/no2010032886
http://vocab.getty.edu/ulan/500055095
https://viaf.org/viaf/96049159
Daniel Lerpiniere
Lerpiniere Daniel, c.1745–1785
Daniel Lerpiniere, c.1745–1785
Daniel Lerpiniere, c.1745–1785
British
1745
1785
male
300025103
Artist
after drawings by George Robertson, 1749–1788, British
ycba_actor_2237
https://viaf.org/viaf/95788714
http://id.loc.gov/authorities/names/nb2014005509
https://www.wikidata.org/wiki/Q18783671
http://vocab.getty.edu/ulan/500017531
George Robertson
Robertson George, 1749–1788
George Robertson, 1749–1788
after drawings by George Robertson, 1749–1788
7011786
7011781
British
1749
1788
male
300025103
Artist
landscape painter
300025529
teacher
after drawings by
1778
1778
1778
22
18th century
Engraving
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
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
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
54111
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. 281-82, no. 15, 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
54111
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1999-08-30
1999-08-30
1999-08-30
300079440
bequest
B2001.2.1521, B2001.2.1519
These belong to a set of six finely wrought engravings made, by the leading engravers of the day, after a set of paintings by George Robertson depicting the estates of William Beckford of Somerley (see essay by Tim Barringer in this volume, pp. 00-00). Dedicated to Beckford by their publisher, John Boydell, it is not clear whether the engravings were made as a self-contained commercial venture or were linked to one of Beckford's publishing schemes.
Certainly, A View in the Island of Jamaica of the Bridge crossing Cabaritta River on the Estate of William Beckford Esqr. presents Jamaica in the same idyllic light as Beckford does in his Descriptive Account of the Island of Jamaica. The picturesque elements of the scene-running water, an elegant bridge, varied foliage, and a human incident in the foreground- are tropes familiar from representations of English scenery, but differences remain. Robertson emphasizes the richness of the tropical vegetation and the life of ease enjoyed (according to Robertson and his patron's partial view) by the enslaved inhabitants of Jamaica. Two men with staffs, seemingly naked or scantily clad, pose nonchalantly on the bridge, while a further picturesque group comprising a washer woman and two men (one bearing a basket on his head) appears at ease in the foreground. The bridge itself symbolizes Beckford's activities as an improving landlord, its elegant wooden structure echoed by the wooded eminence behind. The building of bridges would be identified even more closely with the process of colonial development in James Hakewill's 1824 print of the Iron Bridge near Spanish Town, which was erected in 1800-1801 (see cat. 73), a symbol of colonial improvement that itself echoed the famous Iron Bridge over the river Severn in Shropshire (see cat. 16).
A View in the Island of Jamaica of Roaring River Estate, belonging to Mr William Beckford Esqr near Savannah la Marr comes closer to Robertson's English industrial imagery (see cat. 17). Beckford's estates lay on the fertile lowland coastal plain at the foot of mountains in Westmoreland, at the extreme western tip of Jamaica. The area boasted some of the most profitable sugar plantations, such as Friendship and Greenwich.1 An artful deployment of chiaroscuro throws the foreground and foliage to the left into deep shadow but allows the mountains in the background to glow in the sun. Nestling peacefully in between these regions is a tranquil and orderly scene in which an industrious labor force goes about its business with no signs of coercion. A driver, one of the most highly respected among enslaved figures on the plantation, leads six oxen down a rutted track to the right; smoke emits from the roof of what is probably the boiling house. Fast flowing water escapes from a sluice, indicating that the sugar mill was powered by water here, rather than by cattle (as at estates such as Old Montpelier; see cat. 75) or a windmill.
--- --- 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)
54111
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. 281-82, no. 15, 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/
54111
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:54111
oai:tms.ycba.yale.edu:54111