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oai:tms.ycba.yale.edu:125332026-03-04ycba:pd

YCBA/lido-TMS-12533 http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object Human-Made Object 300033973 drawing 300078925 watercolor 300033973 Drawing & Watercolor Hogarth Sitting to Roubiliac for His Bust Drawings to Illusrate the Life of Hogarth Inscribed in graphite, verso, center: "No 17 | Hogarth sitting to Ronbeliac for | his Bust" 500303557 Yale Center for British Art http://britishart.yale.edu B1975.3.805 https://www.wikidata.org/wiki/Q106783719 Not on view Yale Center for British Art 41.3080060, -72.9306282 12 7/8 × 9 3/4 inches (32.7 × 24.8 cm) height cm 32.7 width cm 24.8 Sheet 7 3/16 × 5 3/8 inches (18.3 × 13.7 cm) height cm 18.3 width cm 13.7 Image 12533 300054713 production John Thomas Smith, 1766–1833, British ycba_actor_738 http://id.loc.gov/authorities/names/nr91033101 http://vocab.getty.edu/ulan/500027815 https://n2t.net/ark:/99166/w6v986nq https://viaf.org/viaf/9747268 https://www.wikidata.org/wiki/Q6260625 John Thomas Smith Smith John Thomas, 1766–1833 John Thomas Smith, 1766–1833 John Thomas Smith, 1766–1833 British 1766 1833 male 300025103 Artist 300111159 British 1817 1817 1817 24 19th century Pen and brown ink, black ink, brown wash, gray wash, and graphite on moderately thick, moderately textured, beige wove paper 300011098 graphite 300014187 wove paper 300022452 pen Q58344150 brown ink brown wash gray wash black ink Fame and Friendship : Pope , Roubiliac , and the Eighteenth-Century Portrait Bust (Yale Center for British Art, 2014-02-20 - 2014-05-19) 816 https://britishart.yale.edu/node/614 300054766 exhibition Fame and Friendship : Pope , Roubiliac , and the Eighteenth-Century Portrait Bust 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 https://viaf.org/viaf/155449049 http://id.loc.gov/authorities/names/n77005277 British Art Center YCBA BAC Yale Center for British Art 1977 0 2014-02-20 - 2014-05-19 2014-02-20 2014-05-19 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 Already frequently used to represent authors in antiquity, portrait busts became the most familiar and widely disseminated images celebrating famous writers during the eighteenth century. No literary figure was more esteemed than the poet Alexander Pope, and his sculpted portraits exemplify the celebration of literary fame at a period when authorship was being newly conceived, and the portrait bust was enjoying new popularity. This exhibition explored the convergence between authorship, portraiture, and the sculpted image in particular by bringing together a wide range of works that foregrounded Pope’s celebrity status. — — The exhibition’s focus was on a series of busts made in Britain by the French émigré sculptor Louis François Roubiliac, including signed and documented versions spanning the years 1738 to 1760. Among the most compelling and iconic images of the poet, the early versions of Roubiliac’s bust were likely to have been made for Pope’s close friends and served to articulate those important friendships. The exhibition also featured a number of adaptations and copies of Roubiliac’s model, which was widely replicated. In bringing together autograph busts and copies, the exhibition explored not only the complex relationship between these various versions but the hitherto little understood processes of sculptural production and replication in eighteenth-century Britain. — — Complementing the sculptures of Pope were busts of other sitters with whom Pope’s image was associated; a selection of painted portraits of the poet by artists such as Jonathan Richardson the Elder, Jean-Baptiste van Loo, and Sir Godfrey Kneller; and a range of Pope’s printed texts. With their subtle changes in typography and their carefully planned illustrations and ornamental features, these early editions were produced under the watchful eye of Pope himself and were the outcome of the poet’s direct engagement with the materiality of the book and print. Also included was little-known material about W. K. Wimsatt, Sterling Professor of English at Yale, who in the 1960s, along with other important Yale literary scholars, notably Maynard Mack, helped make the university a major center for the study of eighteenth-century literature (and Pope in particular). Wimsatt spent twenty-five years researching the poet’s portraits, an achievement celebrated in this exhibition. — — Credits — — Fame and Friendship: Pope, Roubiliac, and the Portrait Bust in Eighteenth-Century Britain was co-organized by the Center and Waddesdon Manor (The Rothschild Collection), where it was on display from June 18 to October 26, 2014. It has been curated by Malcolm Baker, Distinguished Professor of the History of Art at the University of California, Riverside, and Honorary Senior Research Fellow at the Victoria and Albert Museum, London. The organizing curator at the Center was Martina Droth, Associate Director of Research and Education, and Curator of Sculpture; and at Waddesdon, Juliet Carey, Curator of Paintings and Sculpture. Yale Center for British Art Fame and Friendship : Pope , Roubiliac , and the Eighteenth-Century Portrait Bust (Waddesdon (NT), 2014-06-18 - 2014-10-26) 816 https://britishart.yale.edu/node/614 300054766 exhibition Fame and Friendship : Pope , Roubiliac , and the Eighteenth-Century Portrait Bust Yale Center for British Art Waddesdon (NT) ycba_actor_11050 Waddesdon (NT) 0 0 2014-06-18 - 2014-10-26 2014-06-18 2014-10-26 Waddesdon (NT) ycba_actor_11050 Waddesdon (NT) Aylesbury 7011893 Aylesbury 300435424 Already frequently used to represent authors in antiquity, portrait busts became the most familiar and widely disseminated images celebrating famous writers during the eighteenth century. No literary figure was more esteemed than the poet Alexander Pope, and his sculpted portraits exemplify the celebration of literary fame at a period when authorship was being newly conceived, and the portrait bust was enjoying new popularity. This exhibition explored the convergence between authorship, portraiture, and the sculpted image in particular by bringing together a wide range of works that foregrounded Pope’s celebrity status. — — The exhibition’s focus was on a series of busts made in Britain by the French émigré sculptor Louis François Roubiliac, including signed and documented versions spanning the years 1738 to 1760. Among the most compelling and iconic images of the poet, the early versions of Roubiliac’s bust were likely to have been made for Pope’s close friends and served to articulate those important friendships. The exhibition also featured a number of adaptations and copies of Roubiliac’s model, which was widely replicated. In bringing together autograph busts and copies, the exhibition explored not only the complex relationship between these various versions but the hitherto little understood processes of sculptural production and replication in eighteenth-century Britain. — — Complementing the sculptures of Pope were busts of other sitters with whom Pope’s image was associated; a selection of painted portraits of the poet by artists such as Jonathan Richardson the Elder, Jean-Baptiste van Loo, and Sir Godfrey Kneller; and a range of Pope’s printed texts. With their subtle changes in typography and their carefully planned illustrations and ornamental features, these early editions were produced under the watchful eye of Pope himself and were the outcome of the poet’s direct engagement with the materiality of the book and print. Also included was little-known material about W. K. Wimsatt, Sterling Professor of English at Yale, who in the 1960s, along with other important Yale literary scholars, notably Maynard Mack, helped make the university a major center for the study of eighteenth-century literature (and Pope in particular). Wimsatt spent twenty-five years researching the poet’s portraits, an achievement celebrated in this exhibition. — — Credits — — Fame and Friendship: Pope, Roubiliac, and the Portrait Bust in Eighteenth-Century Britain was co-organized by the Center and Waddesdon Manor (The Rothschild Collection), where it was on display from June 18 to October 26, 2014. It has been curated by Malcolm Baker, Distinguished Professor of the History of Art at the University of California, Riverside, and Honorary Senior Research Fellow at the Victoria and Albert Museum, London. The organizing curator at the Center was Martina Droth, Associate Director of Research and Education, and Curator of Sculpture; and at Waddesdon, Juliet Carey, Curator of Paintings and Sculpture. Yale Center for British Art 12533 99123437133408651 12343713 NB466 .B355 2014 OVERSIZE (YCBA) 862400529 3432 300054686 publication event Malcolm Baker, ^The marble index : Roubiliac and sculptural portraiture in eighteenth-century Britain^, The Paul Mellon Centre for Studies in British Art, New Haven, 2014, pp. 42, 187, 188, fig. 205, NB466 .B355 2014 OVERSIZE (YCBA) Yale Center for British Art Malcolm Baker ycba_actor_11108 Baker Malcolm 300025492 Author The Paul Mellon Centre for Studies in British Art ycba_actor_5853 http://id.loc.gov/authorities/names/n79109777 http://vocab.getty.edu/ulan/500301928 http://www.wikidata.org/entity/Q7152454 https://viaf.org/viaf/131545782 The Paul Mellon Centre for Studies in British Art 300025574 Publisher 2014 2014 2014 New Haven 12533 12631387 3567 300054686 publication event Diana Dethloff, ^Burning bright : essays in honour of David Bindman, [ Electronic Resource ] ^, UCL Press, London, 2015, pp. 36, 37, fig. 4.1, [[https://discovery.ucl.ac.uk/id/eprint/1470833/]] Yale Center for British Art Diana Dethloff ycba_actor_12360 Dethloff Diana 300025526 editor Tessa Violet Murdoch ycba_actor_12172 Murdoch Tessa Violet 300025526 editor Kim Sloan ycba_actor_9431 Sloan Kim 300025526 editor Caroline Elam ycba_actor_12361 Elam Caroline 300403974 contributor UCL Press ycba_actor_12362 UCL Press 300025574 Publisher 2015 2015 2015 London 12533 9996914323408651 9691432 CT21 J85 2011 (YCBA) 1733 300054686 publication event Karen Junod, ^Writing the lives of painters, biography and artistic identity in Britain 1760-1810 ^, Oxford University Press, Oxford, 2011, pp. 127,131..., fig. 22, CT21 J85 2011 (YCBA) Yale Center for British Art Karen Junod ycba_actor_9784 Junod Karen 300025492 Author Oxford University Press ycba_actor_8265 Oxford University Press 300025574 Publisher 2011 2011 2011 Oxford 12533 99124046693408651 12404669 V 2571 (YCBA) 905526435 3456 300054686 publication event Tessa Violet Murdoch, ^A glimpse of the apprentice William Hogarth engraving his master's shop-bill : the sign of the angel^, Silver Studies, vol. 31, 2015, pp. 63-65, V 2571 (YCBA) Yale Center for British Art Tessa Violet Murdoch ycba_actor_12172 Murdoch Tessa Violet 300025492 Author 2015 2015 2015 12533 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 1975 1975 300138913 gift 300010279 ycba_term_1367 interior 300247279 ycba_term_569 model 300025181 ycba_term_33869 sculptor 300025103 ycba_term_33775 artist 300015634 ycba_term_32664 caricature 300248231 ycba_term_46702 depiction 300047457 ycba_term_27166 busts 300139140 ycba_term_2036211 genre subject William Hogarth 500004242 ycba_term_2041096 William Hogarth Malcolm Baker, The marble index : Roubiliac and sculptural portraiture in eighteenth-century Britain, The Paul Mellon Centre for Studies in British Art, New Haven, 2014, pp. 42, 187, 188, fig. 205, NB466 .B355 2014 OVERSIZE (YCBA) 99123437133408651 12343713 NB466 .B355 2014 OVERSIZE (YCBA) 862400529 3432 related to Diana Dethloff, Burning bright : essays in honour of David Bindman, [ Electronic Resource ], UCL Press, London, 2015, pp. 36, 37, fig. 4.1, https://discovery.ucl.ac.uk/id/eprint/1470833/ 12631387 3567 related to Karen Junod, Writing the lives of painters, biography and artistic identity in Britain 1760-1810, Oxford University Press, Oxford, 2011, pp. 127,131..., fig. 22, CT21 J85 2011 (YCBA) 9996914323408651 9691432 CT21 J85 2011 (YCBA) 1733 related to Tessa Violet Murdoch, A glimpse of the apprentice William Hogarth engraving his master's shop-bill : the sign of the angel, Silver Studies, vol. 31, 2015, pp. 63-65, V 2571 (YCBA) 99124046693408651 12404669 V 2571 (YCBA) 905526435 3456 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/ 12533 300133025 Item 500303557 Yale Center for British Art http://britishart.yale.edu https://collections.britishart.yale.edu/catalog/tms:12533 oai:tms.ycba.yale.edu:12533 https://manifests.collections.yale.edu/v2/ycba/obj/12533 https://manifests.collections.yale.edu/ycba/obj/12533 IIIF manifest Yale Center for British Art 500303557 Yale Center for British Art