Watercolor over graphite on medium, slightly textured, cream laid paper
Dimensions:
Sheet: 6 5/8 x 8 5/8 inches (16.8 x 21.9 cm)
Inscription(s)/Marks/Lettering:
Inscribed in graphite, verso, upper center: "X"; in graphite, verso, center: "Tynemouth Priory | 9 (encircled); in graphite, verso, lower right: "4"
Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B1975.3.1143
Classification:
Drawings & Watercolors
Collection:
Prints and Drawings
Subject Terms:
ruins | ship | tree | figures | arches | stone | grass | water | women | architectural subject | clouds | sky | donkey
Associated Places:
Northumberland | North Tyneside | Tynemouth | Europe | United Kingdom | England
Currently On View:
Not on view
Exhibition History:
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (Yale Center for British Art, 2008-06-09 - 2008-08-17)Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (The State Hermitage Museum, 2007-10-23 - 2008-01-13)Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (Virginia Museum of Fine Arts, 2007-07-11 - 2007-09-30)Thomas Girtin (Yale Center for British Art, 1986-01-21 - 1986-03-30)
Publications:
Thomas Girtin, The art of Thomas Girtin, A. and C. Black, London, 1954, p. 137, no. 27, fig. 9, NJ18 G44 G445 (YCBA)Susan Morris, Thomas Girtin, 1775-1802, Yale Center for British Art, New Haven, 1986, p. 36, no. 12, NJ18 .G44 M67 (LC) (YCBA)Yale Center for British Art, Great British watercolors : from the Paul Mellon Collection, Yale University Press, New Haven, 2007, pp. 93-95, no. 39, ND1928 .Y35 2007 (LC)+ Oversize (YCBA)
Gallery Label:
Thomas Girtin, together with John Robert Cozens and J. M. W. Turner, revolutionized watercolor painting at the end of the eighteenth century. This trio gave rise to what we would now identify as a new romantic approach to painting landscape that had a decisive effect on oil painters as well as watercolorists. In this early watercolor Girtin already shows that romantic sentiment by pushing the ruined priory up close to the picture plane, giving it an imposing, even oppressive, presence. Gallery label for Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (Yale Center for British Art, 2008-06-09 - 2008-08-17)