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YCBA/lido-TMS-58503 http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object Human-Made Object 300078925 watercolor 300033973 drawing 300015636 landscape 300117546 marine art 300033973 Drawing & Watercolor Three Views of the Strait of Sunda Verso: Sketch of a Man, Wearing a Conical Hat An Album of Sketches on the Voyage from England to China with Lord Macartney's Embassy An Album of sixteen Marine Views of Islands and Ports on the Voyage from England to China: Madiera South East Extremity Inscribed in pen and black ink, upper center: "Strait of Sunda"; upper center: "[...] Island bearing NE. | [...]"; upper right: "mid channel [..] abreast of Princes Island"; center right: "SE. of Princes Island | trees"; lower right: "East [...] dist." Watermark Signed and dated in pen and black ink, lower right: "HW Parish 1793" 500303557 Yale Center for British Art http://britishart.yale.edu B1981.25.2176 Not on view Yale Center for British Art 41.3080060, -72.9306282 4 1/8 × 10 7/16 inches (10.5 × 26.5 cm) height cm 10.5 width cm 26.5 Sheet 58503 300054713 production Henry William Parish, active 1792 ycba_actor_2794 http://vocab.getty.edu/ulan/500354191 Henry William Parish Parish Henry William, active 1792 Henry William Parish, active 1792 Henry William Parish, active 1792 1742 1842 male 300025103 Artist 300111159 British 1793 1793 1793 22 18th century Watercolor and pen and black ink on medium, slightly textured, cream laid 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 https://viaf.org/viaf/155449049 http://id.loc.gov/authorities/names/n77005277 Yale Center for British Art BAC YCBA British Art Center 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 58503 99128933333408651 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. 217, cat. 77, 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 58503 300157782 acquisition Yale Center for British Art ycba_actor_1281 YCBA BAC Yale Center for British Art British Art Center 1977 0 300203630 Owner 1981 1981 1981 300138913 gift This album contains sixteen views from the outward voyage of George Macartney’s diplomatic mission to China, an attempt to persuade the Chinese imperial court to broaden its trade policies with Britain. The naval ship Lion and an East India Company vessel, the Hindostan, departed Portsmouth in September 1792, intending to sail around the Cape of Good Hope and eastward into the Indian Ocean. Trade winds forced them to cross the Atlantic to South America, and they remained for several weeks in Rio de Janeiro, where Henry William Parish made this view. Recrossing the Atlantic, they arrived at Macau in June 1793. Parish was a lieutenant in the Royal Artillery and a trained draftsman. His sketch of Rio, then the heavily fortified Portuguese colonial capital and entrepôt for sugar, gold, and gems, combines the kind of coastal profile the Royal Navy relied upon for navigation and a military interest in the embrasures (openings for gun placements) of the port’s defenses. Macartney’s embassy attempted to create interest in British manufactured products to offset the trade deficit caused by British demand for Chinese goods, particularly tea and silk. While the mission famously failed in these aims, the visual and textual descriptions of the expedition brought back new knowledge of Chinese people and customs. --- --- Gallery label for Spreading Canvas - Eighteenth-Century British Marine Painting (Yale Center for British Art, 2016-09-09 - 2016-12-04) 58503 300048722 Gallery label 2016 300235692 ycba_term_2036210 marine art 300015636 ycba_term_149705 landscape Indonesia 1000116 ycba_term_1900006 Indonesia -5.0000, 120.0000 Southeast Asia 7016821 ycba_term_1953883 Southeast Asia -0.1660, 115.6830 Sunda Strait 1115268 ycba_term_1903668 Sunda Strait -5.9702, 105.7697 Eleanor Hughes, Spreading Canvas : Eighteenth-Century British Marine Painting, Yale Center for British Art, New Haven, 2016, p. 217, cat. 77, ND 1373.G74 S67 2016 (YCBA) 99128933333408651 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 Collection 300055598 Public Domain 300435434 https://creativecommons.org/publicdomain/zero/1.0/ 58503 300133025 Item 500303557 Yale Center for British Art http://britishart.yale.edu https://collections.britishart.yale.edu/catalog/tms:58503 oai:tms.ycba.yale.edu:58503