2024-03-29T11:21:55Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:686542024-03-28ycba:pd
YCBA/lido-TMS-68654
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300033973
drawing
300027354
Drawing & Watercolor-Sketchbook
Sketchbook Drawing
Italian Sketchbook
500303557
Yale Center for British Art
http://britishart.yale.edu
B1980.30(77)
Not on view
Yale Center for British Art
41.3080060, -72.9306282
6 1/2 × 4 1/2 inches (16.5 × 11.4 cm)
width
cm
11.4
height
cm
16.5
Sheet
6 1/2 inches (16.5 cm)
height
cm
16.5
Binding
68654
300054713
production
George Romney, 1734–1802, British
ycba_actor_37
http://id.loc.gov/authorities/names/n50048289
http://d-nb.info/gnd/118749609
http://viaf.org/viaf/39646668
https://www.wikidata.org/wiki/Q371280
https://n2t.net/ark:/99166/w62b94fs
http://en.wikipedia.org/wiki/George_Romney_(painter)
http://libris.kb.se/resource/auth/310718
http://isni-url.oclc.nl/isni/0000000081189431
http://vocab.getty.edu/ulan/500115779
http://www.idref.fr/028906497/id
George Romney
Romney George, 1734–1802
George Romney, 1734–1802
George Romney, 1734–1802
1029010
7000874
7011781
7010221
British
1734
1802
male
300025103
Artist
300025136
painter
300111159
British
1773
1773
1773
22
18th century
Graphite on thin, slightly textured, cream laid paper
300014184
laid paper
300011098
graphite
https://www.wikidata.org/wiki/Q58344150
brown ink
black ink
68654
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1980-01-01
1980-01-01
1980-01-01
300417642
purchase
For the British artist studying in Italy, the sketchbook was a crucial tool. Three on "classic ground" the act of drawing focused the attention and aided the understanding. Back in Britain the sketchbook provided not only a record of the art and landscape encountered but also a repertoire of poses, figural groupings, and compositional ideas from the ancients and the masters of the Renaissance and Baroque or of richly evocative landscape elements that could be incorporated into their own art.
While their sketchbooks show them to have been eager and receptive students, both George Romney and John Flaxman made their visits to Italy as mature well-established artists. Romney interrupted a successful practice as a portrait painter to travel to Italy between 1773 and 177Flaxmanxman by 1787 had earned enough as a sculptor to afford a more extended stay in Italy, remaining there until 1794. The Sketchbooks by Romney and Flaxman are each filled with drawings after antique sculpture and works of the early high Renaissance in both Florence and Rome. Romney's sketches are freer and interspersed with original compositional studies; Flaxman's drawings are more disciplined, frequently worked up with pen and ink and wash.
--- --- Scott Wilcox --- ---
--- Wilcox, Forrester, O'Neil, Sloan. The Line of Beauty: British Drawings and Watercolors of the Eighteenth Century. Yale Center for British Art, New Haven, 2001. pg. 129, cat. no. 108, N5220 M552 P38 2007 OVERSIZE (YCBA)
68654
300111999
Published catalog entry
ycba_actor_1252
Scott Wilcox
300025492
Author
2001-05
300055603
500303557
Yale Center for British Art
https://britishart.yale.edu
Yale Center for British Art, Paul Mellon Fund
300055598
Public Domain
300435434
https://creativecommons.org/publicdomain/zero/1.0/
68654
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:68654
oai:tms.ycba.yale.edu:68654