2024-03-29T15:05:45Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:5552024-03-28ycba:ps
YCBA/lido-TMS-555
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300033618
painting
300139140
genre subject
300033618
Painting
The Severe Steward, or Unfortunate Tenant
The Rapacious Steward or the Unfortunate Tenant
The Rapacious Steward
500303557
Yale Center for British Art
http://britishart.yale.edu
B1981.25.42
https://www.wikidata.org/wiki/Q23758295
Not on view
Yale Center for British Art
41.3080060, -72.9306282
40 1/4 x 50 1/8 inches (102.2 x 127.3 cm)
height
cm
102.2
width
cm
127.3
48 x 58 x 3 inches (121.9 x 147.3 x 7.6 cm)
depth
cm
7.6
height
cm
121.9
width
cm
147.3
Frame
555
300054713
production
William Redmore Bigg, 1755–1828, British
ycba_actor_283
https://viaf.org/viaf/68798436
http://vocab.getty.edu/ulan/500004589
http://id.loc.gov/authorities/names/nr93000657
https://n2t.net/ark:/99166/w6p30b1n
https://www.wikidata.org/wiki/Q8017429
William Bigg
William Biggs
William Redmore Bigg
Bigg William Redmore, 1755–1828
William Redmore Bigg, 1755–1828
William Redmore Bigg, 1755–1828
7008131
7011781
British
1755
1828
male
300025103
Artist
Royal Academician
300025136
painter
300111159
British
between 1800 and 1801
1800
1801
24
19th century
Oil on canvas
300015050
oil paint
300014078
canvas
300054216
painting (technique)
Sensation and Sensibility: Viewing Gainsborough's " Cottage Door " (Yale Center for British Art, 2005-10-06 - 2005-12-31)
133
https://britishart.yale.edu/node/665
300054766
exhibition
Sensation and Sensibility: Viewing Gainsborough's " Cottage Door "
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
http://id.loc.gov/authorities/names/n77005277
Yale Center for British Art
British Art Center
BAC
YCBA
1977
0
300311675
Borrower
66
Lender
2005-10-06 - 2005-12-31
2005-10-06
2005-12-31
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
New Haven
7014210
New Haven
300435424
Taking as its focal point Thomas Gainsborough’s great landscape painting The Cottage Door, about 1780 (now in The Huntington Library, Art Collections, and Botanical Gardens), this exhibition brought together for the first time a group of paintings, prints, and drawings related to Gainsborough’s pictorial treatment of the cottage and cottage life. These works are some of the first by a British artist to embody the eighteenth-century ideal of sensibility, a movement that encouraged an emotional response to the artless beauty of nature and idealized the life of the rural peasantry. Together, Gainsborough’s scenes of cottage life form a vision of a rustic idyll that resonated powerfully with the metropolitan culture of late-eighteenth-century Britain and had an immediate impact on new modes of thinking about vision and visual perception. — —
The exhibition included modern recreations of models, viewing apparatuses, and period rooms that aimed to evoke for today’s viewers the ideas, objects, and practices that contributed to Gainsborough’s landscape vision and shaped his audiences’ emotional response to his works. The show featured a spectacular recreation of an eighteenth-century sound-and-light show, called an Eidophusikon, the original of which was created in 1781 by Gainsborough’s friend, the artist and theatrical designer Philippe-Jacques de Loutherbourg. — —
Equally exciting was the installation of The Cottage Door within a room specifically created to evoke the “Tent Room” of Sir John Leicester’s Hill Street Gallery, where the painting was displayed to great fanfare in 1818. This modern recreation—complete with fabric tenting, mirrors, and special lighting evoking the glow of oil lamps—allowed twenty-first-century visitors to experience how early viewers would have encountered Gainsborough’s painting. — —
Venues — —
Yale Center for British Art: October 6–December 31, 2005 — —
The Huntington Library, Art Collections, and Botanical Gardens: — —
February 11–May 14, 2006 — —
Credits — —
Sensation and Sensibility: Viewing Gainsborough’s “Cottage Door” was co-organized by the Center and The Huntington. It was curated by Ann Bermingham, Professor of History of Art and Architecture, University of California, Santa Barbara; in collaboration with Julia Marciari Alexander, the Center’s Associate Director for Programmatic Affairs; and Shelley Bennett, Curator of British and European Art at The Huntington. It was generously supported by grants from the Samuel H. Kress Foundation, the National Endowment for the Humanities, and the David T. Langrock Foundation.
Yale Center for British Art
Sensation and Sensibility: Viewing Gainsborough's " Cottage Door " (The Huntington Library, Art Collections, and Botanical Gardens, 2006-02-11 - 2006-05-14)
133
https://britishart.yale.edu/node/665
300054766
exhibition
Sensation and Sensibility: Viewing Gainsborough's " Cottage Door "
Yale Center for British Art
The Huntington Library, Art Collections, and Botanical Gardens
ycba_actor_2030
http://www.wikidata.org/entity/Q1400558
https://viaf.org/viaf/147236009
http://vocab.getty.edu/ulan/500293829
http://id.loc.gov/authorities/names/n79049138
The Huntington Library, Art Collections, and Botanical Gardens
0
0
300311675
Borrower
66
Lender
2006-02-11 - 2006-05-14
2006-02-11
2006-05-14
The Huntington Library, Art Collections, and Botanical Gardens
ycba_actor_2030
http://id.loc.gov/authorities/names/n79049138
http://vocab.getty.edu/ulan/500293829
http://www.wikidata.org/entity/Q1400558
https://viaf.org/viaf/147236009
The Huntington Library, Art Collections, and Botanical Gardens
San Marino
7014461
San Marino
300435424
Taking as its focal point Thomas Gainsborough’s great landscape painting The Cottage Door, about 1780 (now in The Huntington Library, Art Collections, and Botanical Gardens), this exhibition brought together for the first time a group of paintings, prints, and drawings related to Gainsborough’s pictorial treatment of the cottage and cottage life. These works are some of the first by a British artist to embody the eighteenth-century ideal of sensibility, a movement that encouraged an emotional response to the artless beauty of nature and idealized the life of the rural peasantry. Together, Gainsborough’s scenes of cottage life form a vision of a rustic idyll that resonated powerfully with the metropolitan culture of late-eighteenth-century Britain and had an immediate impact on new modes of thinking about vision and visual perception. — —
The exhibition included modern recreations of models, viewing apparatuses, and period rooms that aimed to evoke for today’s viewers the ideas, objects, and practices that contributed to Gainsborough’s landscape vision and shaped his audiences’ emotional response to his works. The show featured a spectacular recreation of an eighteenth-century sound-and-light show, called an Eidophusikon, the original of which was created in 1781 by Gainsborough’s friend, the artist and theatrical designer Philippe-Jacques de Loutherbourg. — —
Equally exciting was the installation of The Cottage Door within a room specifically created to evoke the “Tent Room” of Sir John Leicester’s Hill Street Gallery, where the painting was displayed to great fanfare in 1818. This modern recreation—complete with fabric tenting, mirrors, and special lighting evoking the glow of oil lamps—allowed twenty-first-century visitors to experience how early viewers would have encountered Gainsborough’s painting. — —
Venues — —
Yale Center for British Art: October 6–December 31, 2005 — —
The Huntington Library, Art Collections, and Botanical Gardens: — —
February 11–May 14, 2006 — —
Credits — —
Sensation and Sensibility: Viewing Gainsborough’s “Cottage Door” was co-organized by the Center and The Huntington. It was curated by Ann Bermingham, Professor of History of Art and Architecture, University of California, Santa Barbara; in collaboration with Julia Marciari Alexander, the Center’s Associate Director for Programmatic Affairs; and Shelley Bennett, Curator of British and European Art at The Huntington. It was generously supported by grants from the Samuel H. Kress Foundation, the National Endowment for the Humanities, and the David T. Langrock Foundation.
Yale Center for British Art
' Art on the Line ' : the Royal Academy Exhibitions at Somerset House 1780-1836 (The Courtauld Gallery, 2001-10-17 - 2002-01-20)
91
300054766
exhibition
' Art on the Line ' : the Royal Academy Exhibitions at Somerset House 1780-1836
Yale Center for British Art
The Courtauld Gallery
ycba_actor_3955
https://www.wikidata.org/wiki/Q12110695
The Courtauld Gallery
The Courtauld Institute of Art
0
0
300311675
Borrower
2001-10-17 - 2002-01-20
2001-10-17
2002-01-20
The Courtauld Gallery
ycba_actor_3955
https://www.wikidata.org/wiki/Q12110695
The Courtauld Gallery
London
7011781
London
555
4871296
V 0909 (YCBA)
48957204
1338
300054686
publication event
^Art on the line : the Royal Academy exhibitions at Somerset House, 1780-1836 : [catalogue of works], ^, The Courtauld Gallery, London, 2001, no. 18, V 0909 (YCBA)
Yale Center for British Art
The Courtauld Gallery
ycba_actor_3955
https://www.wikidata.org/wiki/Q12110695
The Courtauld Gallery
300025574
Publisher
2001
2001
2001
London
555
583000
N590.2 A83 (YCBA)
13422488
323
300054686
publication event
Malcolm Cormack, ^Concise Catalogue of Paintings in the Yale Center for British Art^, Yale Center for British Art, New Haven, CT, 1985, pp. 22-23, N590.2 A83 (YCBA)
Yale Center for British Art
Malcolm Cormack
ycba_actor_6010
Cormack Malcolm
300025492
Author
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
300025574
Publisher
1985
1985
1985
New Haven, CT
555
3649104
N5054 A53 29-49 (YCBA)
40211893
2052
300054686
publication event
Royal Academy of Arts, ^Exhibition Catalogue. 1801. 33d.^, Exhibition of the Royal Academy of Arts, no. 33, B. McMillan, London, 1801, p. 12, no. 221, N5054 A53 29-49 (YCBA)
Yale Center for British Art
Royal Academy of Arts
ycba_actor_5870
http://id.loc.gov/authorities/names/n80032672
http://vocab.getty.edu/ulan/500115632
http://www.wikidata.org/entity/Q270920
https://viaf.org/viaf/153543255
Royal Academy of Arts
300025492
Author
B. McMillan
ycba_actor_12402
B. McMilllan
300025574
Publisher
1801
1801
1801
London
555
4803244
N5054 A78 2001B (YCBA)
46872205
1963
300054686
publication event
David H. Solkin, ^Art on the Line : the Royal Academy Exhibitions at Somerset House 1780-1836, ^, Yale University Press, New Haven, CT, 2001, Foldout no. 36, N5054 A78 2001B (YCBA)
Yale Center for British Art
David H. Solkin
ycba_actor_8617
Solkin David H.
300025492
Author
Yale University Press
ycba_actor_7029
Yale University Press
300025574
Publisher
2001
2001
2001
New Haven, CT
555
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1981
1981
1981
300138913
gift
300178802
ycba_term_21364
costume
300024300
ycba_term_33376
shovel
300055698
ycba_term_345
rent
300230852
ycba_term_6657
peasants
300139140
ycba_term_2036211
genre subject
300025932
ycba_term_35283
mother
300055166
ycba_term_72817
sadness
300154348
ycba_term_6959
daughters
300247581
ycba_term_7000
girls
300005500
ycba_term_31338
cottage
300055474
ycba_term_38768
family
300025931
ycba_term_35279
father
300247598
ycba_term_6999
boys
300188720
ycba_term_7165
sisters
300236284
ycba_term_46169
steward
300025943
ycba_term_7002
women
300025928
ycba_term_7001
men
300137572
ycba_term_82712
imprisonment
300188723
ycba_term_7164
brothers
300250148
ycba_term_2036751
horse (animal)
300154341
ycba_term_40732
husband
300005433
ycba_term_31315
house
300025846
ycba_term_35136
landlord
2441022
ycba_term_2036314
cows
300154343
ycba_term_40735
wife
300025878
ycba_term_35198
tenant
300043094
ycba_term_37779
churn
300025607
ycba_term_34719
farmer
300154350
ycba_term_40742
son
300025945
ycba_term_114139
children
300056179
ycba_term_650
gesture
Art on the line : the Royal Academy exhibitions at Somerset House, 1780-1836 : [catalogue of works], , The Courtauld Gallery, London, 2001, no. 18, V 0909 (YCBA)
4871296
V 0909 (YCBA)
48957204
1338
related to
Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 22-23, N590.2 A83 (YCBA)
583000
N590.2 A83 (YCBA)
13422488
323
related to
Royal Academy of Arts, Exhibition Catalogue. 1801. 33d., Exhibition of the Royal Academy of Arts, no. 33, B. McMillan, London, 1801, p. 12, no. 221, N5054 A53 29-49 (YCBA)
3649104
N5054 A53 29-49 (YCBA)
40211893
2052
related to
David H. Solkin, Art on the Line : the Royal Academy Exhibitions at Somerset House 1780-1836, , Yale University Press, New Haven, CT, 2001, Foldout no. 36, N5054 A78 2001B (YCBA)
4803244
N5054 A78 2001B (YCBA)
46872205
1963
related to
300055603
500303557
Yale Center for British Art
https://britishart.yale.edu
Yale Center for British Art, Paul Mellon Collection
300055598
Public Domain
300435434
https://creativecommons.org/publicdomain/zero/1.0/
555
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:555
oai:tms.ycba.yale.edu:555
https://manifests.collections.yale.edu/v2/ycba/obj/555
https://manifests.collections.yale.edu/ycba/obj/555
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art