Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B1977.14.57
Classification:
Paintings
Collection:
Paintings and Sculpture
Subject Terms:
hills | trees | landscape | leisure | costume | cattle | boy | ruins | stream | weir | cows | house | sheep | river
Currently On View:
Not on view
Exhibition History:
In a New Light: Paintings from the Yale Center for British Art (Yale University Art Gallery, 2023-03-24 - 2023-12-03)Hogarth, Reynolds, Turner: British Painting and the Rise of Modernity (Fondazione Roma Museo - Palazzo Sciarra, 2014-04-14 - 2014-07-20)Painting in England 1700-1850 - From The Collection of Mr. and Mrs. Paul Mellon (Yale University Art Gallery, 1965-04-15 - 1965-06-20)
Publications:
John Baskett, Painting in England: 1700-1850: the Collection of English paintings formed by Mr and Mrs Paul Mellon : on Exhibition at the Museum of Fine Arts, Richmond, until August 18th, , Connoisseur, Vol. 153, London, June 1963, pp. 101, 104, N1 C75 + (YCBA)Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 96-97, N590.2 A83 (YCBA)Catherine M. Gordon, British paintings Hogarth to Turner, Frederick Warne, London, 1981, p. 24, ND466 G67 (YCBA)Luke Herrmann, The Paul Mellon Collection at Burlington House, Connoisseur, vol. 157, December 1964, p. 218, N1 C75 + OVERSIZE (YCBA)Painting in England : 1700-1850, Arts Review, vol. 37,, April 1963, p. 19, V 2337Painting in England 1700-1850 : collection of Mr. & Mrs. Paul Mellon : Exhibition at the Virginia Museum of Fine Arts, , 1,2, Virginia Museum of Fine Arts, Richmond, VA, 1963, p. 52 (v.1), no. 31, pl. 97, ND466 V57 v.1-2 (YCBA)Painting in England 1700-1850 from the Collection of Mr. and Mrs. Paul Mellon, The Royal Academy of Arts Winter Exhibition 1964-65., , Royal Academy of Arts, London, UK, 1964, p. 11 (v.1), front cover, no. 32, ND466 R68 1964/65 (YCBA)Skira editore, Hogarth Reynolds Turner : British painting and the rise of modernity, Rome, 2014, pp.224, 263-64, cat. no. 74, fig. 74, ND466 .H65 2014 OVERSIZE (YCBA)Ellis Waterhouse, Gainsborough, Spring Books, London, 1966, p. 108, NJ18 G16 A12 W28 1966 + OVERSIZE (YCBA)Yale University Art Gallery, Painting in England, 1700-1850, from the collection of Mr. and Mrs. Paul Mellon : [exhibition at] Yale University Art Gallery, April 15-June 20, 1965, , vol. 1, W. Clowes and sons, New Haven, 1965, p. 23 (v.1), no. 81, ND466 Y35 (YCBA)
Gallery Label:
The young Thomas Gainsborough trained with Francis Hayman in London before returning to his native Suffolk in about 1748. In prosperous Ipswich he found a market for landscapes and small portraits (one of which is shown nearby). His earliest landscapes, of which this is an outstanding example, were derived from his careful observation of nature and heavily influenced by the Dutch tradition. The views themselves were almost always imaginary rather than representing particular places and were often painted as decorative overmantels. This picture was acquired by the London silversmith and art dealer Panton "Panny" Betew, a friend of William Hogarth. Betew made a habit of buying work by talented young artists and sold Gainsborough's drawings from the window of his London shop. It was engraved in 1764 before being cut down on the left-hand side, which has given the picture its current square shape. Gallery label for installation of YCBA collection, 2016