2024-03-29T09:45:44Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:585042024-03-27ycba:pd
YCBA/lido-TMS-58504
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300078925
watercolor
300033973
drawing
300117546
marine art
300015636
landscape
300033973
Drawing & Watercolor
Straits of Sunda
An Album of Sketches on the Voyage from England to China with Lord Macartney's Embassy
An Album of sixteen Marine Views of Islands and Ports on the Voyage from England to China: Madiera South East Extremity
Inscribed in pen and black ink, upper center: "Straits of Sunda"; below: "No. 1 rather distant SE 1/2 [?]"; upper right: "Prince Island"; center left: "No 1."; lower left: "No 2"; lower center: "dark green trees"; lower right: "S 20 E dist. [...]"
Signed and dated in pen and black ink, lower right: "HW Parish 1793"
500303557
Yale Center for British Art
http://britishart.yale.edu
B1981.25.2177
https://www.wikidata.org/wiki/Q110545942
Not on view
Yale Center for British Art
41.3080060, -72.9306282
4 1/8 × 10 7/16 inches (10.5 × 26.5 cm)
height
cm
10.5
width
cm
26.5
Sheet
58504
300054713
production
Henry William Parish, active 1792
ycba_actor_2794
http://vocab.getty.edu/ulan/500354191
Henry William Parish
Parish Henry William, active 1792
Henry William Parish, active 1792
Henry William Parish, active 1792
1742
1842
male
300025103
Artist
300111159
British
1793
1793
1793
22
18th century
Watercolor and pen and black ink on medium, slightly textured, cream laid paper
300014184
laid paper
300015045
watercolor
black ink
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
http://id.loc.gov/authorities/names/n77005277
https://viaf.org/viaf/155449049
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
58504
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. 217, cat. 77, 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
58504
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1981
1981
1981
300138913
gift
This album contains sixteen views from the outward voyage of George Macartney’s diplomatic mission to China, an attempt to persuade the Chinese imperial court to broaden its trade policies with Britain. The naval ship Lion and an East India Company vessel, the Hindostan, departed Portsmouth in September 1792, intending to sail around the Cape of Good Hope and eastward into the Indian Ocean. Trade winds forced them to cross the Atlantic to South America, and they remained for several weeks in Rio de Janeiro, where Henry William Parish made this view. Recrossing the Atlantic, they arrived at Macau in June 1793. Parish was a lieutenant in the Royal Artillery and a trained draftsman. His sketch of Rio, then the heavily fortified Portuguese colonial capital and entrepôt for sugar, gold, and gems, combines the kind of coastal profile the Royal Navy relied upon for navigation and a military interest in the embrasures (openings for gun placements) of the port’s defenses. Macartney’s embassy attempted to create interest in British manufactured products to offset the trade deficit caused by British demand for Chinese goods, particularly tea and silk. While the mission famously failed in these aims, the visual and textual descriptions of the expedition brought back new knowledge of Chinese people and customs.
--- --- Gallery label for Spreading Canvas - Eighteenth-Century British Marine Painting (Yale Center for British Art, 2016-09-09 - 2016-12-04)
58504
300048722
Gallery label
2016
300235692
ycba_term_2036210
marine art
300015636
ycba_term_149705
landscape
Eleanor Hughes, Spreading Canvas : Eighteenth-Century British Marine Painting, Yale Center for British Art, New Haven, 2016, p. 217, cat. 77, 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/
58504
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:58504
oai:tms.ycba.yale.edu:58504
https://manifests.collections.yale.edu/v2/ycba/obj/58504
https://manifests.collections.yale.edu/ycba/obj/58504
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art