2024-03-28T19:07:13Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:66072024-03-27ycba:pd
YCBA/lido-TMS-6607
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300033973
drawing
300078925
watercolor
300015636
landscape
300033973
Drawing & Watercolor
Isola Madre, Lago Maggiore
Inscribed in graphite, lower center: "Isola Madre Lago di Maggiore Lago [...]"; in graphite, lower right: "D25761"
500303557
Yale Center for British Art
http://britishart.yale.edu
B1975.4.1850
Not on view
Yale Center for British Art
41.3080060, -72.9306282
12 3/16 x 17 1/2 inches (31 x 44.5 cm)
width
cm
44.5
height
cm
31.0
Sheet
16 3/4 x 22 1/4 inches (42.5 x 56.5 cm)
height
cm
42.5
width
cm
56.5
Contemporary drawn border
6607
300054713
production
John Warwick Smith, 1749–1831, British
ycba_actor_739
https://www.wikidata.org/wiki/Q11728002
http://id.loc.gov/authorities/names/nr91033082
http://vocab.getty.edu/ulan/500009954
https://n2t.net/ark:/99166/w6jq1bxn
https://viaf.org/viaf/313041903
John Warwick Smith
Warwick Smith
John Smith
John Irthington Smith
Smith John, 1749–1831
John Warwick Smith, 1749–1831
John Warwick Smith, 1749–1831
7011987
7011781
British
1749
1831
male
300025103
Artist
300025157
watercolorists
300111159
British
ca. 1781
1776
1786
22
18th century
Watercolor over graphite on medium, moderately textured, cream laid paper, laid down on original mount
300011098
graphite
300014184
laid paper
300015045
watercolor
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
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
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://n2t.net/ark:/99166/w6991x8v
http://vocab.getty.edu/ulan/500310718
http://www.wikidata.org/entity/Q4013975
https://viaf.org/viaf/148748621
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
Edward Lear and the Art of Travel (Yale Center for British Art, 2000-09-20 - 2001-01-14)
81
https://britishart.yale.edu/node/695
300054766
exhibition
Edward Lear and the Art of Travel
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
British Art Center
Yale Center for British Art
BAC
YCBA
1977
0
300025633
Curator
2000-09-20 - 2001-01-14
2000-09-20
2001-01-14
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
Most accounts of the artistic achievements of Edward Lear (1812–1888) take as their starting point the notion that he is better known as the writer of nonsense verse than as a topographical draughtsman and painter. His art is then considered largely in isolation, as the extraordinary creation of a fascinatingly eccentric Victorian. This exhibition, however, situated Lear’s work as an artist within the great outpouring of images of foreign lands produced by British artists in the later eighteenth and nineteenth centuries. — —
Although Lear suffered from epilepsy, asthma, poor eyesight, and chronic depression, he was an inveterate traveler and an indefatigable sketcher, documenting a lifetime of journeys throughout the Mediterranean and India. — —
In 1997, Donald C. Gallup, alumnus of Yale and former Curator of American literature at the Beinecke Rare Book and Manuscript Library, gave his collection of Edward Lear’s art to the Center. Drawing from this generous gift as well as the Paul Mellon Collection and other gifts, this exhibition featured 114 drawings, twelve paintings, and six books by Lear. Also on display were over sixty works by thirty other artists, including J. M. W. Turner, Richard Parkes Bonington, David Roberts, and John Frederick Lewis. — —
Credits — —
Edward Lear and the Art of Travel was organized by Scott Wilcox, Senior Curator of Prints and Drawings at the Center. An illustrated catalogue accompanied the exhibition and received an honorable mention in the year’s American Association of Museums’ publications competition.
Yale Center for British Art
Gentle, Rural and Sublime - English Landscape Paintings and Watercolors, 1750-1850 (Denver Art Museum, 1993-12-11 - 1994-02-06)
484
300054766
exhibition
Gentle, Rural and Sublime - English Landscape Paintings and Watercolors, 1750-1850
Yale Center for British Art
Denver Art Museum
ycba_actor_2730
http://vocab.getty.edu/ulan/500242559
https://viaf.org/viaf/124991483
http://www.wikidata.org/entity/Q1189960
http://id.loc.gov/authorities/names/n79055441
Denver Art Museum
Lewis I. Sharp
0
0
300311675
Borrower
1993-12-11 - 1994-02-06
1993-12-11
1994-02-06
Denver Art Museum
ycba_actor_2730
http://id.loc.gov/authorities/names/n79055441
http://vocab.getty.edu/ulan/500242559
http://www.wikidata.org/entity/Q1189960
https://viaf.org/viaf/124991483
Denver Art Museum
Denver
7013545
Denver
English Landscape (Paul Mellon Collection) 1630-1850 (Yale Center for British Art, 1977-04-19 - 1977-07-17)
568
300054766
exhibition
English Landscape (Paul Mellon Collection) 1630-1850
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
Yale Center for British Art
BAC
YCBA
British Art Center
1977
0
63
Organizer
1977-04-19 - 1977-07-17
1977-04-19
1977-07-17
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
6607
3607325
ND1354.4 B34 1993 (YCBA)
32511265
701
300054686
publication event
Katharine Baetjer, ^Glorious nature, British landscape painting, 1750-1850 ^, Zwemmer publisher, London, 1993, pp. 148-149, no. 33, ND1354.4 B34 1993 (YCBA)
Yale Center for British Art
Katharine Baetjer
ycba_actor_8391
Baetjer Katharine
300025492
Author
Zwemmer publisher
ycba_actor_8673
Zwemmer publisher
300025574
Publisher
1993
1993
1993
London
6607
466842
N1 A54 105:2 + (YCBA)
01481683
1723
300054686
publication event
Graham Reynolds, ^English Landscape 1630-1850^, Apollo, vol.105, April 1977, pp. 41-42, no. 64, pl. XI, N1 A54 105:2 + (YCBA)
Yale Center for British Art
Graham Reynolds
ycba_actor_8357
Reynolds Graham
300025492
Author
April 1977
1977
1977
6607
9755520
496007086
TLS Historical Archive
1844
300054686
publication event
Simon Schama, ^The Yale Centre for British Art^, TLS, the Times Literary Supplement, , May 20, 1977, p. 620, TLS Historical Archive
Yale Center for British Art
Simon Schama
ycba_actor_9397
Schama Simon
300025492
Author
May 20, 1977
1977
1977
6607
4629427
NJ18 L455 W55 2000 (YCBA)
45840854
505
300054686
publication event
Scott Wilcox, ^Edward Lear and the art of travel^, Yale Center for British Art, New Haven, CT, 2000, pp. 138-9, no. 157, NJ18 L455 W55 2000 (YCBA)
Yale Center for British Art
Scott Wilcox
ycba_actor_1252
Wilcox Scott
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
2000
2000
2000
New Haven, CT
6607
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. 42-44, no. 15, 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
6607
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
John “Warwick” Smith, one of the great innovators in late eighteenth-century watercolor, helped to move the art away from colored drawing towards a more painterly use of the medium. He spent the period between 1775 and 1781 in Italy thanks to the patronage of the 2nd Earl of Warwick. On his return he presented the Earl with this watercolor as part of a large series that was originally kept in a portfolio at Warwick Castle. The entire composition rests on a careful control of tone, using subtle gray and blue washes to suggest light, atmosphere, and depth. The time of day is presumably early morning with a dawn mist spreading over the water. To catch these atmospheric conditions, Smith has exploited the full potential of watercolor’s translucency. He has even left a small band of entirely untouched white paper between the mountains and the water to suggest mist rising off the lake’s surface.
--- --- 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)
6607
300048722
Gallery label
2008-06-24
John "Warwick" Smith was born in Irthington, Cumbria, far removed from the nation's art capital of London. But by a stroke of fortune, Smith's father happened to garden for a Mrs.Appleby, the sister of Captain John Gilpin. The captain's two, more famous sons were the Rev. William Gilpin and Sawrey Gilpin (1733-1807), theorist of the picturesque and animal painter, respectively. The connection was decisive for the young artist. Smith was placed under Sawrey Gilpin's tutelage at a time when the latter was a prominent figure in the art world. In 1775 Sawrey introduced Smith to George Greville, and Earl of Warwick, who offered to pay his passage to Italy, supporting his studies there until 1781. There Smith joined the same group of expatriate British artists as William Pars (cat. no. 11), Francis Towne (cat. no. 10), and Thomas Jones (1742-1803). ---
Smith returned home in the company of Towne, and the two artists paused on their journey to sketch the landscapes of northern Italy and Switzerland. Isola Madre, Lago Maggiore has been identified as one of the fruits of his homeward journey, and from the dates on some of Towne's watercolors we know they had reached the area by August 1781. Smith probably made the watercolor itself from sketches back in England, where he settled in Warwick - hence his sobriquet - and presented his patron with a series of large-scale watercolors, which were kept in a portfolio in the earl's library at Warwick Castle. ---
As its name suggests, Lago Maggiore is the largest of the northern Italian lakes, stretching across the border into neighboring Switzerland. Isola Madre is one of four islands on the lake, dominated by a great sixteenth-century palazzo with celebrated gardens. When it came to painting the landscape, Smith produced a design of striking simplicity, dividing the sky, land, and lake into a composition of balanced horizontal bands. This suggests a debt to Towne, who also tended to abstract complex scenery into simple geometric patterns. But, with the exception of a few pencil lines to locate the island and the background peaks, Smith dispensed with Towne's detailed under. drawing and pen and ink line. His entire composition rests on careful control of tone, using subtle gray and blue washes to suggest light, atmosphere, and depth. The time of day is presumably early morning, with a dawn mist spreading over the water. To catch these atmospheric conditions, Smith exploited the full potential of watercolor's translucency by allowing the whiteness of the paper to shine through, giving the entire scene a striking luminosity. Since watercolor is applied from light to dark, highlights must come before shadows. In this case, Smith took care to preserve the intensity of his highlights, such as those on the closest mountain, with only the faintest of gray washes on top of the paper. He left a small band of entirely untouched white paper between the mountains and the water to suggest mist rising off the lake's surface. Depth is achieved by introducing the darkest blues into the immediate foreground and lightening them as they fade into the distance. Although the rim of Lago Maggiore is wooded, Smith has captured the instability of color, draining the rim's green hues to suggest the experience of seeing the mountains through early-morning light. What gives this composition its force is the slightly asymmetrical placement of the island itself where Smith introduced local color in the green trees and the hint of russet for the tiled roofs of the palazzo. The sense of space between the island and the mountains is created entirely by playing this local color off against the perceived color of the mountains, demonstrating how far artists like Smith were moving away from the limitations of the stained-drawing technique by the end of the century.
--- --- Matthew Hargraves
--- --- Hargraves, Matthew, and Scott Wilcox. Great British Watercolors: from the Paul Mellon collection. New Haven: Yale Center for British Art, 2007, pp. 42-43, no. 15
6607
300111999
Published catalog entry
ycba_actor_7112
Matthew Hargraves
300025492
Author
2007
300004792
ycba_term_17956
buildings
300008680
ycba_term_32360
lake
300015636
ycba_term_149705
landscape
300008795
ycba_term_32403
mountain
300055374
ycba_term_1018
fog
300008791
ycba_term_32400
island
300343840
ycba_term_2036248
clouds
Italy
1000080
ycba_term_1833823
Italy
42.8330, 12.8330
Lago Maggiore
7006062
ycba_term_1816659
Lago Maggiore
46.0000, 8.6660
Katharine Baetjer, Glorious nature, British landscape painting, 1750-1850, Zwemmer publisher, London, 1993, pp. 148-149, no. 33, ND1354.4 B34 1993 (YCBA)
3607325
ND1354.4 B34 1993 (YCBA)
32511265
701
related to
Graham Reynolds, English Landscape 1630-1850, Apollo, vol.105, April 1977, pp. 41-42, no. 64, pl. XI, N1 A54 105:2 + (YCBA)
466842
N1 A54 105:2 + (YCBA)
01481683
1723
related to
Simon Schama, The Yale Centre for British Art, TLS, the Times Literary Supplement, , May 20, 1977, p. 620, TLS Historical Archive
9755520
496007086
TLS Historical Archive
1844
related to
Scott Wilcox, Edward Lear and the art of travel, Yale Center for British Art, New Haven, CT, 2000, pp. 138-9, no. 157, NJ18 L455 W55 2000 (YCBA)
4629427
NJ18 L455 W55 2000 (YCBA)
45840854
505
related to
Yale Center for British Art, Great British watercolors : from the Paul Mellon Collection, Yale University Press, New Haven, 2007, pp. 42-44, no. 15, 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/
6607
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:6607
oai:tms.ycba.yale.edu:6607
https://manifests.collections.yale.edu/v2/ycba/obj/6607
https://manifests.collections.yale.edu/ycba/obj/6607
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art