Graphite, black chalk, and white chalk on medium, moderately textured, brown laid paper
Dimensions:
Sheet: 10 1/4 × 17 1/8 inches (26 × 43.5 cm)
Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B1977.14.4272
Classification:
Drawings & Watercolors
Collection:
Prints and Drawings
Subject Terms:
nude | female | figure study | woman
Currently On View:
Not on view
Exhibition History:
William Hunter and the Anatomy of the Modern Museum (Yale Center for British Art, 2019-02-14 - 2019-05-20)Connections (Yale Center for British Art, 2011-05-26 - 2011-09-11)The Line of Beauty : British Drawings and Watercolors of the Eighteenth Century (Yale Center for British Art, 2001-05-19 - 2001-08-05)
Publications:
David Bindman, Hogarth, Thames & Hudson, p. 123, no. 87, , NJ18.H67 B56 2021 (YCBA)Sir Lawrence Gowing, Hogarth, with a biographical essay by Ronald Paulson , Tate Publishing, London, December 2, 1971-February 6, 1972, p. 40, no. 92, NJ18 H67 G68 + OVERSIZE (YCBA)Scott Wilcox, Line of beauty : British drawings and watercolors of the eighteenth century, , Yale Center for British Art, New Haven, CT, 2001, pp. 174-5, no. 147, NC228 W53 2001 (YCBA)
Gallery Label:
The representation of the human figure was the central task of the history painter, and study from the life model was the principal component of artistic training in most academies. The private academies of England differed from their state-run counterparts on the Continent, however, by providing female models in life classes. By 1720 Louis Chéron and John Vanderbank began a drawing school in London, and this graphite and chalk drawing was almost certainly made from a life model at this drawing school, perhaps in preparation for a now lost history painting of Danae for the Duke of Ancaster. Gallery label for Connections (Yale Center for British Art, 2011-05-26 - 2011-09-11)