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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.
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.
The Huntington collection of drawings by Thomas Rowlandson is generally regarded as the largest and most comprehensive at present in a public museum. The collection offers an unrivaled opportunity for the study of this prolific artist's range of interests and the development of his technique. As a line draftsman and humorist, Thomas Rowlandson was probably the finest England has ever produced. Certainly he had a wider command of comic devices and comes closer to exploiting their full potentialities than any other British artist. He is also wonderfully inventive in discovering and expressing the comic aspects of a great variety of everyday situations. His reputation as a humorist, though, should not obscure his achievement in other fields: he is a charming landscapist and genre artist, and a skillful portraitist. All these facets of Rowlandson's work are well represented in this volume, which reproduces and catalogues all of the Huntington drawings, including those from A Tour in a Post Chaise and The English Dance of Death, both previously published by the Huntington. In his introductory essay, Robert Wark discusses Rowlandson's art and illustrates the various aspects of his work by relating them to selected drawings that are reproduced in full color. The book will be of immense value to the student of art history, and the layman will be delighted by the vigor and sheer virtuosity of Rowlandson's work.
This is the first scholarly study to focus on satirical prints of women in the late eighteenth century. This was the golden age of graphic satire: thousands of prints were published, and they were viewed by nearly all sections of the population. These prints both reflected and sought to shape contemporary debate about the role of women in society. Cindy McCreery's study examines the beliefs and prejudices of Georgian England which they revealed.