2024-03-28T08:32:38Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:55242024-03-27ycba:pd
YCBA/lido-TMS-5524
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300033973
drawing
300078925
watercolor
300015636
landscape
300033973
Drawing & Watercolor
Villa d'Este
500303557
Yale Center for British Art
http://britishart.yale.edu
B1975.3.197
Not on view
Yale Center for British Art
41.3080060, -72.9306282
16 3/4 x 21 3/4 inches (42.5 x 55.2 cm)
width
cm
55.2
height
cm
42.5
Sheet
5524
300054713
production
Joseph Mallord William Turner, 1775–1851, British
ycba_actor_21
http://vocab.getty.edu/ulan/500026846
http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX865570
http://d-nb.info/gnd/11862475X
http://en.wikipedia.org/wiki/J._M._W._Turner
http://id.ndl.go.jp/auth/ndlna/00459271
http://id.loc.gov/authorities/names/n79060712
https://n2t.net/ark:/99166/w6057d6v
http://viaf.org/viaf/100900492
http://isni-url.oclc.nl/isni/0000000121454990
http://www.oxforddnb.com/index/27/101027854/
http://libris.kb.se/resource/auth/277878
http://www.idref.fr/027332446/id
https://www.wikidata.org/wiki/Q159758
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
Joseph Mallord William Turner, 1775–1851
4012680
7011781
British
1775
1851
male
300025103
Artist
300112172
draftsman (artist)
300025136
painter (artist)
300236992
landscapist
300025157
watercolorist
after John Robert Cozens, 1752–1797, British
ycba_actor_1256
http://isni-url.oclc.nl/isni/0000000120257506
http://d-nb.info/gnd/118670433
http://viaf.org/viaf/51962885
http://en.wikipedia.org/wiki/John_Robert_Cozens
https://n2t.net/ark:/99166/w6fb77wh
http://id.loc.gov/authorities/names/n80153730
http://vocab.getty.edu/ulan/500000438
http://www.idref.fr/098858467/id
https://www.wikidata.org/wiki/Q613852
John Robert Cosens
Cozens the Younger
John Robert Cozens
Cozens John Robert, 1752–1797
John Robert Cozens, 1752–1797
after John Robert Cozens, 1752–1797
7011781
7011781
British
1752
1797
male
300025103
Artist
300025157
watercolorist
300112172
draftsman (artist)
landscape painter
300025136
painter
after
300111159
British
ca. 1796
1791
1801
22
18th century
Watercolor, graphite, pen and back ink, blue wash and gray wash on moderately thick, slightly textured, cream wove paper
300011098
graphite
300014187
wove paper
300015045
watercolor
gray wash
black ink
blue wash
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (Yale Center for British Art, 2008-06-09 - 2008-08-17)
500
https://britishart.yale.edu/node/647
300054766
exhibition
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art
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
BAC
YCBA
Yale Center for British Art
1977
0
66
Lender
2008-06-09 - 2008-08-17
2008-06-09
2008-08-17
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
Great British Watercolors brought together eighty-eight outstanding works in the medium from the Paul Mellon Collection at the Center, including masterpieces by J. M. W. Turner, John Constable, William Blake, Paul Sandby, John Robert Cozens, Thomas Girtin, Thomas Gainsborough, and others. The exhibition was organized as part of the 2007 celebrations commemorating both the Center’s thirtieth anniversary and the centenary of the institution’s founder, Paul Mellon, one of the greatest cultural philanthropists of the twentieth century.
In a period of a little over fifteen years, beginning in the early 1960s, Mr. Mellon assembled one of the world’s greatest collections of British drawings and watercolors. As part of his extensive collecting of British art, he purchased several distinguished private collections of British watercolors, enriching and expanding them with astute purchases reflecting his own taste. In his memoirs he praised “the beauty and freshness of English drawings and watercolors, their immediacy and sureness of technique, their comprehensiveness of subject matter, their vital qualities, their Englishness.” — —
Great British Watercolors spanned more than a century of British artistic production, from the emergence of watercolor painting in the mid-eighteenth century to its flowering in the early nineteenth century. The exhibition highlighted the diversity of British watercolor painting, showing both landscapes and figurative works by some of the principal artists who worked in the medium. Paul Mellon’s collecting activity helped to revive the study of British watercolor. — —
Venues — —
Virginia Museum of Fine Arts, Richmond: — —
July 11–September 30, 2007 — —
The State Hermitage Museum, St. Petersburg, Russia: — —
October 23, 2007–January 13, 2008 — —
Yale Center for British Art: — —
une 10–August 17, 2008 — —
Credits — —
Organized by the Center in association with the Virginia Museum of Fine Arts, Richmond, Great British Watercolors was curated by Scott Wilcox, Curator of Prints and Drawings at the Center; Mitchell Merling, Paul Mellon Curator and Head of the Department of European Art, Virginia Museum of Fine Arts; and Matthew Hargraves, Postdoctoral Research Associate in the Department of Paintings and Sculpture at the Center.
Yale Center for British Art
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (The State Hermitage Museum, 2007-10-23 - 2008-01-13)
500
https://britishart.yale.edu/node/647
300054766
exhibition
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art
Yale Center for British Art
The State Hermitage Museum
ycba_actor_6557
Olga Ilmenkova
The State Hermitage Museum
0
0
300311675
Borrower
2007-10-23 - 2008-01-13
2007-10-23
2008-01-13
The State Hermitage Museum
ycba_actor_6557
The State Hermitage Museum
Sankt-Peterburg
7010273
Sankt-Peterburg
300435424
Great British Watercolors brought together eighty-eight outstanding works in the medium from the Paul Mellon Collection at the Center, including masterpieces by J. M. W. Turner, John Constable, William Blake, Paul Sandby, John Robert Cozens, Thomas Girtin, Thomas Gainsborough, and others. The exhibition was organized as part of the 2007 celebrations commemorating both the Center’s thirtieth anniversary and the centenary of the institution’s founder, Paul Mellon, one of the greatest cultural philanthropists of the twentieth century.
In a period of a little over fifteen years, beginning in the early 1960s, Mr. Mellon assembled one of the world’s greatest collections of British drawings and watercolors. As part of his extensive collecting of British art, he purchased several distinguished private collections of British watercolors, enriching and expanding them with astute purchases reflecting his own taste. In his memoirs he praised “the beauty and freshness of English drawings and watercolors, their immediacy and sureness of technique, their comprehensiveness of subject matter, their vital qualities, their Englishness.” — —
Great British Watercolors spanned more than a century of British artistic production, from the emergence of watercolor painting in the mid-eighteenth century to its flowering in the early nineteenth century. The exhibition highlighted the diversity of British watercolor painting, showing both landscapes and figurative works by some of the principal artists who worked in the medium. Paul Mellon’s collecting activity helped to revive the study of British watercolor. — —
Venues — —
Virginia Museum of Fine Arts, Richmond: — —
July 11–September 30, 2007 — —
The State Hermitage Museum, St. Petersburg, Russia: — —
October 23, 2007–January 13, 2008 — —
Yale Center for British Art: — —
une 10–August 17, 2008 — —
Credits — —
Organized by the Center in association with the Virginia Museum of Fine Arts, Richmond, Great British Watercolors was curated by Scott Wilcox, Curator of Prints and Drawings at the Center; Mitchell Merling, Paul Mellon Curator and Head of the Department of European Art, Virginia Museum of Fine Arts; and Matthew Hargraves, Postdoctoral Research Associate in the Department of Paintings and Sculpture at the Center.
Yale Center for British Art
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (Virginia Museum of Fine Arts, 2007-07-11 - 2007-09-30)
500
https://britishart.yale.edu/node/647
300054766
exhibition
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art
Yale Center for British Art
Virginia Museum of Fine Arts
ycba_actor_1286
https://viaf.org/viaf/148748621
http://www.wikidata.org/entity/Q4013975
http://vocab.getty.edu/ulan/500310718
https://n2t.net/ark:/99166/w6991x8v
http://id.loc.gov/authorities/names/n79046025
Virginia Museum of Fine Arts
0
0
300311675
Borrower
2007-07-11 - 2007-09-30
2007-07-11
2007-09-30
Virginia Museum of Fine Arts
ycba_actor_1286
http://id.loc.gov/authorities/names/n79046025
http://vocab.getty.edu/ulan/500310718
http://www.wikidata.org/entity/Q4013975
https://n2t.net/ark:/99166/w6991x8v
https://viaf.org/viaf/148748621
Virginia Museum of Fine Arts
Richmond
7013964
Richmond
300435424
Great British Watercolors brought together eighty-eight outstanding works in the medium from the Paul Mellon Collection at the Center, including masterpieces by J. M. W. Turner, John Constable, William Blake, Paul Sandby, John Robert Cozens, Thomas Girtin, Thomas Gainsborough, and others. The exhibition was organized as part of the 2007 celebrations commemorating both the Center’s thirtieth anniversary and the centenary of the institution’s founder, Paul Mellon, one of the greatest cultural philanthropists of the twentieth century.
In a period of a little over fifteen years, beginning in the early 1960s, Mr. Mellon assembled one of the world’s greatest collections of British drawings and watercolors. As part of his extensive collecting of British art, he purchased several distinguished private collections of British watercolors, enriching and expanding them with astute purchases reflecting his own taste. In his memoirs he praised “the beauty and freshness of English drawings and watercolors, their immediacy and sureness of technique, their comprehensiveness of subject matter, their vital qualities, their Englishness.” — —
Great British Watercolors spanned more than a century of British artistic production, from the emergence of watercolor painting in the mid-eighteenth century to its flowering in the early nineteenth century. The exhibition highlighted the diversity of British watercolor painting, showing both landscapes and figurative works by some of the principal artists who worked in the medium. Paul Mellon’s collecting activity helped to revive the study of British watercolor. — —
Venues — —
Virginia Museum of Fine Arts, Richmond: — —
July 11–September 30, 2007 — —
The State Hermitage Museum, St. Petersburg, Russia: — —
October 23, 2007–January 13, 2008 — —
Yale Center for British Art: — —
une 10–August 17, 2008 — —
Credits — —
Organized by the Center in association with the Virginia Museum of Fine Arts, Richmond, Great British Watercolors was curated by Scott Wilcox, Curator of Prints and Drawings at the Center; Mitchell Merling, Paul Mellon Curator and Head of the Department of European Art, Virginia Museum of Fine Arts; and Matthew Hargraves, Postdoctoral Research Associate in the Department of Paintings and Sculpture at the Center.
Yale Center for British Art
Thomas Girtin (Yale Center for British Art, 1986-01-21 - 1986-03-30)
585
300054766
exhibition
Thomas Girtin
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
Yale Center for British Art
BAC
YCBA
British Art Center
1977
0
63
Organizer
1986-01-21 - 1986-03-30
1986-01-21
1986-03-30
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
5524
583098
NJ18 .G44 M67 (LC) (YCBA)
13488251
4909
300054686
publication event
Susan Morris, ^Thomas Girtin, 1775-1802^, Yale Center for British Art, New Haven, 1986, p. 50, no. 121, NJ18 .G44 M67 (LC) (YCBA)
Yale Center for British Art
Susan Morris
ycba_actor_14403
Morris Susan
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
1986
1986
1986
New Haven
5524
7842306
ND1928 .Y35 2007 (LC)+ Oversize (YCBA)
71833360
4877
300054686
publication event
Yale Center for British Art, ^Great British watercolors : from the Paul Mellon Collection^, Yale University Press, New Haven, 2007, pp. 103-105, no. 44, ND1928 .Y35 2007 (LC)+ Oversize (YCBA)
Yale Center for British Art
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
300025492
Author
Matthew Hargraves
ycba_actor_7112
Hargraves Matthew
300025492
Author
Scott Wilcox
ycba_actor_1252
Wilcox Scott
300025492
Author
Yale University Press
ycba_actor_7029
Yale University Press
300025574
Publisher
2007
2007
2007
New Haven
5524
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1975-01-01
1975-01-01
1975-01-01
300138913
gift
Around 1795 Turner began working alongside Thomas Girtin at Dr. Thomas Monro’s “Academy.” Monro was a specialist in psychiatric cases and was acting as physician to John Robert Cozens. He was also an amateur artist who collected work in watercolor by the leading exponents of the time, especially Cozens. He paid Turner and Girtin to make copies of Cozens’s drawings, Girtin sketching the outlines and Turner adding the color. This drawing was made after a Cozens design and could perhaps be a collaboration between the two young artists.
--- --- Gallery label for Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (Yale Center for British Art, 2008-06-09 - 2008-08-17)
5524
300048722
Gallery label
2008-06-24
A crucial period in Turner's development began around 1795, when he started working alongside Thomas Girtin at Monro's academy. Monro's motives in having these gifted young artists copy watercolors and drawings are not entirely clear. Was he getting them to copy drawings he wanted dearly for his own collection but could only have on loan? Or did he sell their work to collectors for profit? Whatever his intentions, Monro paid emerging artists good moneyto work at watercolor; Turner claimed he could make anything up to 3s 6d a night. By frequenting Monro's, he and Girtin could earn a living while learning the fundamentals of watercolor painting as well as having access to his outstanding collection of drawings. According to Joseph Farington, Turner and Girtin "were chiefly employed in copying the outlines or unfinished drawings of Cozens &c &c of which copies they made finished drawings." Turner's later remark that he knew of "no genius but the genius of hard work" is amply borne out by the fact that more than two hundred of these drawings survive, Villa d'Este being one of the larger examples. Farington noted that Girtin and Turner labored over them in the evenings, arriving at Monro's at "6 and staid [sic] till Ten. Girtin drew in outlines and Turner washed in the effects." Since John Robert Cozens has been one of Monro's psychiatric patients for over a year by the time Turner entered the Monro circle, he had ready access either to the original sketchbooks that Cozens made touring Italy or high-quality tracings from those sketches." --- ---
The close collaboration between the pair makes it almost impossible to discern with any decree of certainty whether this is entirely the work of Turner or a collaboration with Girtin. According to John Varley (cat. nos. 53-55), who was also at Monro's academy and an early disciple of Girtin, the latter began to resent the process of making these drawings. He claimed it was "not giving him the same chance of learning to paint." If Girtin's hand was involed in Villa d'Este, it is likely to have been in drawing the basic outlines, with Turner supplying the color washes. The graphite lines are close to Girtin's manner with their loops, dashes, and dots, while Turner's color is lifted direct from Cozens's palette with its gray, blue, and green hues of subdued tone, which lighten as the landscape recedes into the distance. Turner was already exploring ways of handling a brush. Like Rooker or Cozens, Turner's brushwork resists smoothness in favor of variety, at times ranging freely over the paper in broad lines, at others, stabbing at the surface in staccato dabs and slashes. already his color seems impatient with the confines of the preliminary drawing, especially in the fussy treatment of grasses in the foreground, which he obliterates with layer upon layer of wet color washed from a loaded brush. This was exactly the time that Turner had begun to paint in oils, showing his first oil painting with the Royal Academy in 1796, and it is conceivable that he was starting to explore how the two mediums informed each other. He would later claim that he learned more from Cozens's lost oil painting of Hannibal Showing to His Army the Fertile Plains of Italy (1776) than from any other painting he knew. Turner understood that if his artistic ambitions were to be realized, he would have to be elected to the Royal Academy, and that meant gaining credibility as an oil painter. Consequently, he increasingly sidelined his watercolors in the public exhibitions. Although he exhibited watercolors annually between 1790 and 1804, they were increasingly balanced by oil paintings as the year passed, until 1806, after which he rarely showed a watercolor in public again, despite continuing to produce them in prolific quantities. The gambit paid off. It is a measure of Turner's growing importance that he was elected an Associate of the Royal Academy in 1799 and then a full Royal Academician in 1802; Girtin had not polled a single vote when he attempted election as an Associate the year before.
--- --- Matthew Hargraves
--- --- Hargraves, Matthew, and Scott Wilcox. Great British Watercolors: from the Paul Mellon collection. New Haven: Yale Center for British Art, 2007, pp. 103-105, no. 44
5524
300111999
Published catalog entry
ycba_actor_7112
Matthew Hargraves
300025492
Author
2007
300250116
ycba_term_2036310
cattle
300004792
ycba_term_17956
buildings
2441022
ycba_term_2036314
cows
300005517
ycba_term_31343
villa
300132410
ycba_term_17587
trees
300015636
ycba_term_149705
landscape
300002469
ycba_term_15703
walls
Tivoli
7006968
ycba_term_1835857
Tivoli
41.9660, 12.8000
Europe
1000003
ycba_term_1816338
Europe
56.2000, 15.0160
Villa d'Este
1100365
ycba_term_1835643
Villa d'Este
41.9500, 12.8000
Lazio
7003080
ycba_term_1835367
Lazio
42.0000, 12.5000
Roma
7003138
ycba_term_1835629
Roma
41.9660, 12.6660
Italy
1000080
ycba_term_1833823
Italy
42.8330, 12.8330
Susan Morris, Thomas Girtin, 1775-1802, Yale Center for British Art, New Haven, 1986, p. 50, no. 121, NJ18 .G44 M67 (LC) (YCBA)
583098
NJ18 .G44 M67 (LC) (YCBA)
13488251
4909
related to
Yale Center for British Art, Great British watercolors : from the Paul Mellon Collection, Yale University Press, New Haven, 2007, pp. 103-105, no. 44, ND1928 .Y35 2007 (LC)+ Oversize (YCBA)
7842306
ND1928 .Y35 2007 (LC)+ Oversize (YCBA)
71833360
4877
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/
5524
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:5524
oai:tms.ycba.yale.edu:5524
https://manifests.collections.yale.edu/v2/ycba/obj/5524
https://manifests.collections.yale.edu/ycba/obj/5524
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art