2024-03-28T18:55:33Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:614352024-03-27ycba:pd
YCBA/lido-TMS-61435
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300078925
watercolor
300033973
drawing
300417318
architectural subject
300015571
cityscape
300033973
Drawing & Watercolor
A Wood Yard on the Thames at Nine Elms
Inscribed in artist's hand in pen and brown ink upper right : "No.15"; inscribed in graphite lower center: " [ . . . ] "
500303557
Yale Center for British Art
http://britishart.yale.edu
B2009.5.3
https://www.wikidata.org/wiki/Q28796437
Not on view
Yale Center for British Art
41.3080060, -72.9306282
13 3/4 x 35 1/8 inches (34.9 x 89.2 cm)
height
cm
34.9
width
cm
89.2
Sheet
15 3/4 x 38 inches (40 x 96.5 cm)
height
cm
40.0
width
cm
96.5
Mount
61435
300054713
production
Samuel Scott, 1701/2–1772, British
ycba_actor_12
http://en.wikipedia.org/wiki/Samuel_Scott_(painter)
http://id.loc.gov/authorities/names/nr92043230
http://vocab.getty.edu/ulan/500026724
https://www.wikidata.org/wiki/Q2542057
http://viaf.org/viaf/95846663
Samuel Scot
Samuel Scott
Scott, Samuel, approximately 1710-1772
Scott Samuel, 1701/2–1772
Samuel Scott, 1701/2–1772
Samuel Scott, 1701/2–1772
7011197
7011781
British
1701
1772
male
300025103
Artist
300025136
painter
300111159
British
undated
1717
1772
22
18th century
Watercolor, graphite and pen and black ink on medium, slightly textured, cream laid paper
300011098
graphite
300014187
wove 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
61435
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. 201, 203, cat. 63, 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
61435
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
2009-07-15
2009-07-15
2009-07-15
300417642
purchase
This drawing can be identified as the preparatory sketch for a painting, A Wood Yard on the Thames at Nine Elms served as the basis for A Sunset, with a View of Nine Elms (Tate). The south bank of the Thames in the eighteenth century was lined with industries, including the timber yards on the stretch of bank facing Westminster. The yard at Nine Elms is farther upriver, just west of Vauxhall, and looks toward Battersea. Scott records the different types of wood in the yard, from a great trunk to sawn planks; the kiln visible over the roofs of the shed may have been for drying wood. In addition to the meticulous attention Scott pays to the yard itself, he appears to have used this working sheet to record passing small vessels, without particular attention to their scale or placement on the fictitious surface of the water.
--- --- Gallery label for Spreading Canvas - Eighteenth-Century British Marine Painting (Yale Center for British Art, 2016-09-09 - 2016-12-04)
61435
300048722
Gallery label
2016
ycba_term_2036212
architectural subject
300120801
ycba_term_39884
dock
300107979
ycba_term_39716
yard
2498334
ycba_term_2036807
swans
300005433
ycba_term_18184
houses
300120023
ycba_term_26549
sailboats
300178749
ycba_term_26162
boats
300012785
ycba_term_11277
lumber
300015571
ycba_term_32654
cityscape
300008707
ycba_term_32373
river
300011914
ycba_term_10993
wood
300194514
ycba_term_146786
barrels
300006273
ycba_term_18447
windmills
England
7002445
ycba_term_1875229
England
53.0000, -2.0000
United Kingdom
7008591
ycba_term_1872354
United Kingdom
54.0000, -4.5000
Thames
7011913
ycba_term_1880280
Thames
51.5000, 0.4667
Wandsworth
1005871
ycba_term_1880011
Wandsworth
51.4160, -0.1830
London
7011781
ycba_term_1879855
London
51.5000, -0.1660
Eleanor Hughes, Spreading Canvas : Eighteenth-Century British Marine Painting, Yale Center for British Art, New Haven, 2016, p. 201, 203, cat. 63, 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 Fund, in honor of John Baskett
300055598
Public Domain
300435434
https://creativecommons.org/publicdomain/zero/1.0/
61435
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:61435
oai:tms.ycba.yale.edu:61435
https://manifests.collections.yale.edu/v2/ycba/obj/61435
https://manifests.collections.yale.edu/ycba/obj/61435
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art