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Doctor Thomas Monro 1759-1833 Physician, Patron and Painter Introduction Thomas Monro, art collector and doctor to the insane, was a unique figure in London society of the eighteenth anbd early nineteenth centuries. In his professional capacity as head of Bethlem Hospital, Bedlam, the Hospital for the Insane, he was summoned to treat George the Third, during his bouts of madness. His private passion was painting in watercolor, and amongst the artists he befriended and encouraged were J.M.W. Turner and Thomas Girtin. Monro appears to be the missing link in the change of style in watercolors that took place around the beginning of the nineteenth century. Many young men who became leading artists of their day were students at the informal meeting of artists held in his house on Adelphi Terrace, weekly on a Friday evening, from 1974. His house became a studio turning out endless sketches and coloured drawings by young artists, known as 'Monro School Copies'. They copied from drawings by Munro, J.R. Cozens, William ALexander, Henry Edridge and Thomas Hearn: also Monro's neighbour John Henderson had a known contemporary collection of drawings, as had Monro himself, which the students copied from. In addition to Turner and Girtin, John Linnell, John Sell Cotman, Peter de Wint, William Henry Hunt, Joshua Cristall and John Varley, among others, found their way to Monro's evening gatherings. Monro and his friends taught them accusracy in drawing, accompanying them on outdoor sketching trips, teaching them to see from Nature, as well as giving them the enjoyment of the company of other young artists, with an opportunity to share ideas. The as yet acknowledged Monro, played a key role in the development of the styles of these artists. The rise and establishment of watercolor painting, with the standards and ideals which Monro insisted upon, had much to do with the unrivaled position which the English School in Water-Colours had attained by the time of his death, whilst John Ruskin went so far as to say that Thomas Monro was "Turner's true master." So many papers are still held by family memebers, which is why so little correct information had appeared on Thomas Monro to date. With five children surviving him, much has been distributed to their descendants, so it is difficult to get a clear picture. Included in the story is a brief description of Bedlam, od the Bethlem, Hospital. Monro never kept a diary, but his son Edward Thomas (Tom) did, and these diaries and those of his artistic son Henry, and Sally his daughter, have been made available to me. THese form the basis for the book, and are held by a member of the family. Letters and descriptions, many of still in private hands, gave further insight.
Reprint of the original, first published in 1873.
Paul Mellon (1907--1999) was an unparalleled collector of British art. His collection, now at Yale in the museum and study center he founded to house it, rivals those in Britain’s national museums and is unquestionably the most comprehensive representation of British art held outside of the United Kingdom. This book and the exhibition that it accompanies celebrate the centenary of his birth. Five introductory essays examine Mellon’s extraordinary collecting activity, as well as his role in creating both the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art in London as gifts to his alma mater (Yale 1929). A lavishly illustrated catalogue section showcases 148 of the most exquisite and important paintings, watercolors, drawings, prints, sculpture, rare books, and manuscript material in the Yale Center’s collection, including major works by Thomas Gainsborough, Joshua Reynolds, George Stubbs, John Constable, and J. M. W. Turner.
Paul Mellon (1907--1999) assembled one of the world’s greatest collections of British drawings and watercolors. In his memoirs he wrote of their “beauty and freshness… their immediacy and sureness of technique, their comprehensiveness of subject matter, their vital qualities, their Englishness.” This catalogue celebrating the centenary of Mellon's birth features eighty-eight outstanding watercolors from the fifty thousand works of art on paper with which he endowed the Yale Center for British Art. The selection spans the emergence of watercolor painting in the mid-18th century to its apogee in the mid-19th. These works highlight the diversity of British watercolors, showcasing both landscape and figurative works by some of the principal artists working in the medium, including Thomas Gainsborough, Thomas Rowlandson, William Blake, and J. M.W. Turner.