Enfilade

Exhibition | Yinka Shonibare MBE

Posted in exhibitions, today in light of the 18th century by Caitlin Smits on May 11, 2016
23
Yinka Shonibare MBE, Nelson’s Ship in a Bottle (maquette), 2007, as installed in the exhibition Fourth Plinth: Contemporary Monument (London: ICA, 2012–13).

◊  ◊  ◊  ◊  ◊

From the YCBA:

Yinka Shonibare MBE
Yale Center for British Art, New Haven, 1 September — 11 December 2016

Curated by Martina Droth

The contemporary British Nigerian artist Yinka Shonibare is best known for his explorations of the legacies of colonialism through sculpture, installations, film, and photography. This display, which coincides with the Center’s exhibition Spreading Canvas: Eighteenth-Century British Marine Painting, will focus on Shonibare’s interest in the British historical figure Admiral Lord Nelson, whom he uses as an emblem of Britain’s imperial history. An important feature of Shonibare’s work is the consistent use of colorful, wax-printed cotton fabrics, which are associated with Africa but originated in Indonesia and Holland, a product of global trade and imperial markets. The fabric sums up the themes at the heart of Shonibare’s work.

Yinka Shonibare MBE will be curated by Martina Droth, Deputy Director of Research and Curator of Sculpture, Yale Center for British Art.

Exhibition | Spreading Canvas

Posted in books, exhibitions by Caitlin Smits on May 11, 2016

cropped to image, recto, unframed

Charles Brooking, Shipping in the English Channel, ca. 1755, oil on canvas (New Haven: Yale Center for British Art, Paul Mellon Collection)

◊  ◊  ◊  ◊  ◊

From the YCBA:

Spreading Canvas: Eighteenth-Century British Marine Painting
Yale Center for British Art, New Haven, 15 September — 4 December 2016

Curated by Eleanor Hughes

This is 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, reflects 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. This exhibition will reconstruct the full array of representational modes—pictorial, planimetric, narrative, and plastic—that were deployed throughout the century to represent the maritime exploits of the nation. Drawn primarily from the collections of the Yale Center for British Art and augmented by spectacular loans, Spreading Canvas will demonstrate that marine painting was both ubiquitous and fundamental to eighteenth-century British culture.

Spreading Canvas: Eighteenth-Century British Marine Painting has been organized by the Center and will be curated by Eleanor Hughes, Deputy Director for Art & Program at the Walters Art Museum. The organizing curator at the Center is Matthew Hargraves, Chief Curator of Art Collections and Head of Collections Information and Access.

◊  ◊  ◊  ◊  ◊

From Yale UP:

Eleanor Hughes, ed., with essays by Eleanor Hughes, Richard Johns, Geoff Quilley, Christine Riding, and Catherine Roach and contributions by Sophie Lynford, John McAleer, and Pieter van der Merwe, Spreading Canvas: Eighteenth-Century British Marine Painting (New Haven: Yale Center for British Art, 2016), 312 pages, ISBN 978-0300221572, $75.

9780300221572Spreading Canvas takes a close look at the tradition of marine painting that flourished in 18th-century Britain. Drawing primarily on the extensive collections of the Yale Center for British Art and the National Maritime Museum in Greenwich, London, this publication shows how the genre corresponded with Britain’s growing imperial power and celebrated its increasing military presence on the seas, representing the subject matter in a way that was both documentary and sublime. Works by leading purveyors of the style, including Peter Monamy, Samuel Scott, Dominic Serres, and Nicholas Pocock, are featured alongside sketches, letters, and other ephemera that help frame the political and geographic significance of these inspiring views, while also establishing the painters’ relationships to concurrent metropolitan art cultures. This survey, featuring a wealth of beautifully reproduced images, demonstrates marine painting’s overarching relevance to British culture of the era.

Exhibition | Moving Earth

Posted in exhibitions by Editor on May 11, 2016

From the YCBA:

Moving Earth: ‘Capability’ Brown, Humphry Repton, and the Creation of the English Landscape
Sterling Memorial Library, Yale University, New Haven, 7 March — 3 June 2016

Curated by Elizabeth Morris

Approximately one hundred objects from the Center’s collection are represented in this exhibition, which is on view at Yale’s Sterling Memorial Library. Curated by Beth Morris, Assistant Librarian at the Center, the exhibition includes items from the Reference Library and Archives, and reproductions from the Rare Books and Manuscripts, Prints and Drawings, and Paintings collections. Featured here are representations of work by Nathaniel Dance-Holland (Portrait of Lancelot ‘Capability’ Brown, 1773), William Taverner (Classical Landscape, ca. 1760), and Humphrey Repton (Sketches and hints on landscape gardening [London: W. Bulmer and Co., 1794]).

More information is available at the exhibition website.