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oai:tms.ycba.yale.edu:130492026-10-05ycba:pd

YCBA/lido-TMS-13049 http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object Human-Made Object 300078925 watercolor 300015636 landscape 300033973 drawing 300033973 Drawing & Watercolor Chepstow Castle Inscribed in pen and black ink lower right: "J.Varley | 1832." Signed and dated in pen and black ink lower right: "J.Varley | 1832." 500303557 Yale Center for British Art http://britishart.yale.edu B1975.4.1886 https://www.wikidata.org/wiki/Q109986181 Not on view Yale Center for British Art 41.3080060, -72.9306282 12 x 25 1/4 inches (30.5 x 64.1 cm) height cm 30.5 width cm 64.1 Sheet 13049 300054713 production John Varley, 1778–1842, British born in Hackney, England, 1778; active in England; died in London, England, 1842 ycba_actor_441 http://id.loc.gov/authorities/names/n85318633 http://vocab.getty.edu/ulan/500027407 https://n2t.net/ark:/99166/w6tb1jrk https://viaf.org/viaf/16224485 https://www.wikidata.org/wiki/Q2057288 John Varley I John I Varley John Varley Varley John, 1778–1842 John Varley, 1778–1842 John Varley, 1778–1842 7011781 7011781 7011820 British 1778 1842 male 300025103 Artist 300025529 art teacher 300112172 draftsman (artist) 300025165 engraver (printmaker) 300236992 landscapist 300025136 painter (artist) 300025157 watercolorist 300111159 British 1832 1832 1832 24 19th century Watercolor on medium, slightly textured, cream wove paper 300014187 wove 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 https://www.wikidata.org/wiki/Q6352575 http://vocab.getty.edu/ulan/500303557 https://viaf.org/viaf/155449049 http://id.loc.gov/authorities/names/n77005277 BAC YCBA British Art Center Yale Center for British Art 1977 9999 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 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 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 http://vocab.getty.edu/ulan/500310718 http://www.wikidata.org/entity/Q4013975 https://viaf.org/viaf/148748621 https://n2t.net/ark:/99166/w6991x8v 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 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 Fairest Isle - The Appreciation of British Scenery 1750-1850 (Yale Center for British Art, 1989-04-12 - 1989-06-25) 640 300054766 exhibition Fairest Isle - The Appreciation of British Scenery 1750-1850 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 Yale Center for British Art British Art Center BAC YCBA 1977 9999 63 Organizer 1989-04-12 - 1989-06-25 1989-04-12 1989-06-25 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 13049 998187733408651 818773 ND1354.4 F35 (YCBA) 20634286 372 300054686 publication event Duncan Robinson, ^Fairest isle : the appreciation of British scenery, 1750-1850, ^, Yale Center for British Art, New Haven, 1989, p. 3, no. 10, ND1354.4 F35 (YCBA) Yale Center for British Art Duncan Robinson ycba_actor_2713 http://vocab.getty.edu/ulan/500281434 Robinson Duncan 300025492 Author Yale Center for British Art, founded 1977 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 1989 1989 1989 New Haven 13049 9978423063408651 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. 127-129, no. 55, ND1928 .Y35 2007 (LC)+ Oversize (YCBA) Yale Center for British Art Yale Center for British Art, founded 1977 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 13049 300157782 acquisition Yale Center for British Art ycba_actor_1281 YCBA BAC Yale Center for British Art British Art Center 1977 9999 300203630 Owner 1975 1975 1975 300138913 gift By the 1820s Varley’s approach to nature had shifted. Instead of teaching aspiring artists to “Go to Nature for Everything,” he began to insist that “Nature wants cooking.” His point was that landscapes needed to be composed according to certain artistic conventions, and the most important influence on Varley’s later watercolors were the paintings of Claude Lorrain. In this view of the great fortress at Chepstow, Varley takes a high viewpoint above the River Wye, from where the valley can be seen spreading out into the distance towards the Severn. The unmistakably Claudean device—of framing trees to the right, an expansive horizon, and an even light falling across the scene—suggests a harmonious landscape that quite ignores the castle’s original purpose as a formidable military stronghold. --- --- 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) 13049 300048722 Gallery label 2008-06-24 The impact of Varley's shift towards a more formulaic Claudean mode of landscape is evident in Chepstow Castle, which is dated 1832, and was likely to have been the view of Chepstow he exhibited with the Society of Painters in Water-Colours the following year. When Varley first toured Wales in 1798, his series of landscapes were firmly in the manner of Girtin. In this example, three decades later, there is nothing of the rich, mellow coloring, and the fluid washes the latter had introduced into watercolor. Instead, Varley's palette is remarkably light, his tones bright, and his technique has a clarity more readily associated with Paul Sandby (cat. nos. 4-6) than Girtin. This shift in style has significant consequences for the way the subject is interpreted by the viewer. Chepstow Castle perches broodingly on a crag overlooking the River Wye in South Wales, close to the mouth of the Severn estuary. The location of Chepstow marks one of the few places where ships could cross between England into Wales, and the castle was begun by William fitz Osbern in 1067 to assert Norman control over the Welsh border and as a base to conquer southern Wales. By the late eighteenth century, this imposing fortress had become little more than an obiect of antiquarian interest. When the Rev. William Gilpin toured this part of the Wye in 1770, his classic account noted: "We cannot call these views picturesque ... but they are extremely romantic; and give loose to the most pleasing riot of imagination," regretting that he had so little time at Chepstow to "examine the river Wye in South Wales, close to the mouth of the Severn estuary. The location of Chepstow marks one of the few places where ships could cross between England into Wales, and the castle was begun by William fitz Osbern in 1067 to assert Norman control over the Welsh border and as a base to conquer southern Wales. By the late eighteenth century, this imposing fortress had become little more than an obiect of antiquarian interest. When the Rev. William Gilpin toured this part of the Wye in 1770, his classic account noted: "We cannot call these views picturesque ... but they are extremely romantic; and give loose to the most pleasing riot of imagination," regretting that he had so little time at Chepstow to "examine the romantic scenes." The temptation to cast Chepstow as a romantic fortress with its associated ideas of Anglo-Welsh warfare was overwhelming to some art-ists, but Varley's depiction shuns this, taking instead a high viewpoint above the Wye, from where the valley can be seen spreading out into the distance towards the Severn. The unmistakably Claudean device of framing trees to the right, an expansive horizon, and even light suggest a landscape of harmony that quite effaces the castle's original purpose as a vital military stronghold. Although his later works may lack the freshness of his earlier watercolors, Varley's teaching continued to remain a vital force in promoting new approaches to the medium in the nineteenth 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. 126-128, no. 55 13049 300111999 Published catalog entry ycba_actor_7112 Matthew Hargraves 300025492 Author 2007 300404733 ycba_term_2053004 rocks (landforms) 300343840 ycba_term_2036248 clouds 300015636 ycba_term_149705 landscape 300008057 ycba_term_19010 ruins 300210735 ycba_term_142746 towers 300008707 ycba_term_32373 river 300008777 ycba_term_17558 hills 300008805 ycba_term_17576 plains 300132410 ycba_term_17587 trees 300005433 ycba_term_18184 houses 300006891 ycba_term_31780 castle 300008749 ycba_term_17495 cliffs 300002469 ycba_term_15703 walls 300000994 ycba_term_15672 arches 300003632 ycba_term_135937 turrets 300073252 ycba_term_12026 smoke United Kingdom 7008591 ycba_term_1872354 United Kingdom 54.0000, -4.5000 Wales 7002443 ycba_term_1872394 Wales 52.5160, -3.5000 Cymru 7002443 ycba_term_1872395 Cymru 52.5160, -3.5000 Monmouthshire 5000560 ycba_term_1872672 Monmouthshire 51.8330, -2.7500 Chepstow 7008510 ycba_term_1872687 Chepstow 51.6500, -2.6830 Chepstow Castle ycba_term_2037089 Chepstow Castle Duncan Robinson, Fairest isle : the appreciation of British scenery, 1750-1850, , Yale Center for British Art, New Haven, 1989, p. 3, no. 10, ND1354.4 F35 (YCBA) 998187733408651 818773 ND1354.4 F35 (YCBA) 20634286 372 related to Yale Center for British Art, Great British watercolors : from the Paul Mellon Collection, Yale University Press, New Haven, 2007, pp. 127-129, no. 55, ND1928 .Y35 2007 (LC)+ Oversize (YCBA) 9978423063408651 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/ 13049 300133025 Item 500303557 Yale Center for British Art http://britishart.yale.edu https://collections.britishart.yale.edu/catalog/tms:13049 oai:tms.ycba.yale.edu:13049 https://manifests.collections.yale.edu/v2/ycba/obj/13049 https://manifests.collections.yale.edu/ycba/obj/13049 IIIF manifest Yale Center for British Art 500303557 Yale Center for British Art