Nu in www.dordrechtsmuseum.nl #Turner Hoogtepunten uit het #YaleCenterforBritishArt #YaleUniversityArtGallery + als hoogtepunt het monumentale “Dort of Dordrecht: de aankomst van de pakketboot tussen Dordrecht en Rotterdam” (1818) #mustsee:
Portrait of George James Welbore Agar-Ellis, later 1st Lord Dover. Sir Thomas Lawrence (British; 1769–1830). Oil on canvas, ca. 1823–24. Yale Center for British Art, New Haven, Connecticut.
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#georgejameswelboreagarellis
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@yalebritishart
The English poet and satirist Alexander Pope (1688–1744), at the Yale Center for British Art
Visit charlesroy.myportfolio.com
French-born sculptor Louis-François Roubiliac 1741.
#photography #YaleUniversity #yalecenterforbritishart #NewHaven #Connecticut
“HewLocke: Passages,” on view thru Jan. 11 at #YaleCenterForBritishArt #New HavenCT, is a comprehensive survey of the British Guyanese artist's career spanning over 30 years. Lexi Gondek reviews the show in our latest issue: artscopemagazine.com/2025/11/the-... #Art #InternationalArt #NewEnglandArt
English Pre-Raphaelite artist Anna Blunden, later Anna Blunden Martino, worked as a governess but quit to attend art school after reading the first volume of John Ruskin’s seminal Modern Painters (1843). She became a devotee of Ruskin, who was a critic of the new industrial capitalism and inspired Victorians as diverse as Cardinal Henry Edward Manning and Oscar Wilde. Blunden echoed Ruskin’s opinions about the dehumanizing effects of modern urbanism in this painting, which dramatizes the plight of workers who came to London seeking employment but found the pollution and poverty of the early Industrial Revolution. She depicts a young fair-skinned seamstress, hands folded in prayer during a break from work on a long-sleeve white shirt, gazing out a window into a smoggy sky. Factory chimneys rise from the cityscape in the distance. At the time, she was living in City Road, Finsbury, and the view of the London skyline seen through the window was probably painted from her lodgings. This was the first painting Blunden exhibited publicly at the Society of British Artists in 1854, where it was accompanied by a quotation from Thomas Hood’s poem “The Song of the Shirt” (published in “Punch” at Christmas 1843) that gives voice to a “weary and worn” seamstress as she longs for her youth in the countryside: For only one short hour To feel as I used to feel, Before I knew the woes of want, And the walk that costs a meal! In 1867, Blunden went to study in Italy, settling in Rome until 1872. In April that year, she heard that her youngest sister, Emily, who had married an Italian called Martino and gone to live with him in Birmingham, had died in childbirth. She returned to England and, flouting the Table of Affinities, married Martino herself. Her later life was spent in Birmingham, where her husband established the Martino Steel & Metal Company and she exhibited for many years with the Birmingham Society of Artists.
“The Song of the Shirt” (aka “For Only One Short Hour”) by Anna Elizabeth Blunden (English) - Oil on canvas / 1854 - Yale Center for British Art (New Haven, Connecticut) #womeninart #ArtText #art #womanartist #femaleartist #AnnaElizabethBlunden #AnnaBlunden #womensart #YCBA #YaleCenterforBritishArt
After two years of renovation, The Center for British Art at Yale has reopened.
Tracey Emin: I Loved You until the morning. Her first exhibit in US
#traceyemin
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“Bathers in a Landscape.” Thomas Rowlandson (British; 1756–1827). Watercolor with pen & brown and gray ink, over graphite, on moderately thick, slightly textured, cream, wove paper. Yale Center for British Art, New Haven, Conn.
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#rowlandson
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@yalebritishart
“Rough-Coated Collie.” James Ward (British; 1769–1859). Oil on board, 1809. Yale Center for British Art, New Haven, Connecticut.
#jamesward
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“Seashore and Cliffs, with a Horse and Cart and a Beached Boat on Shore.” James Ward (British; 1769–1859), attributed to. Watercolor on moderately thick, rough, cream, wove paper, n.d. Yale Center for British Art, New Haven, Connecticut.
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@yalebritishart
“Man of War Rocks, Coast of Dorset.” John Brett (British; 1831–1902). Oil on canvas, 1884. Yale Center for British Art, New Haven, Connecticut.
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#dorset
#manofwarrocks
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@yalebritishart
“The Coast at Brighton: Stormy Evening.” John Constable (British; 1776–1837). Oil on paper laid on canvas, ca. 1828. Yale Center for British Art, New Haven, Connecticut.
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“Coast Scene.” Peter DeWint (British; 1784–1849). Watercolor over graphite with scraping out on thick, cream, moderately textured wove paper laid onto card, undated. Yale Center for British Art, New Haven, Connecticut.
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“The Low Lighthouse, North Shields.” Robert Salmon (British; 1775–ca. 1845). Oil on panel, 1828. Yale Center for British Art, New Haven, Connecticut.
#northshields
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#robertsalmon
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“Sandown Bay, from near Shanklin Chine, Isle of Wight.” John Glover (British; 1767–1849). Oil on canvas, ca. 1827. Yale Center for British Art, New Haven, Connecticut.
#sandownbay
#johnglover
#shanklinchine
#isleofwight
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@yalebritishart
“Man of War Rocks, Coast of Dorset.” John Brett (British; 1831–1902). Oil on canvas, 1884. Yale Center for British Art, New Haven, Connecticut.
#JohnBrett
#Dorset
#yalecenterforbritishart
#manofwarrocks
@yalebritishart
“Man of War Rocks, Coast of Dorset” (or, “Distant Thunder”). John Brett (British; 1831–1902). Oil on canvas, 1884. Yale Center for British Art, New Haven, Connecticut.
#johnbrett
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#manofwarrocks
@yalebritishart
