Paintings showing how artists from the Romantic period captured the interplay of light and shade on the landscape are featured in a new exhibition opening Wednesday, Sept. 25, at the Yale Center for British Art.
Titled "The Romantic Landscape Print: 'The Chiaroscuro of Nature,'" the exhibition was organized by Gillian Forrester and Eric Stryker, doctoral candidate in the Department of the History of Art. It will continue through Dec. 29.
During the late 18th and early 19th centuries, when printmaking flourished, many painters in search of new means of personal expression turned to graphic media, either working independently or collaborating closely with professional engravers.
"The Romantic Landscape Print" will examine the aesthetic and spiritual fascination with landscapes by European artists and writers of the period. It will trace the evolution of this preoccupation with the natural world.
The exhibition will feature the work of artists such as J.M.W. Turner, John Constable (who coined the resonant phrase, "the chiaroscuro of Nature"), Thomas Girtin, William Blake, Samuel Palmer, and "Norwich School" members John Sell Cotman and John Crome. The movement's enduring legacy will be revealed in such modern artists as Richard Long, Hamish Fulton and Peter Doig.
Highlights of the exhibition include the finest plates from two celebrated series of prints, Turner's "Liber Studiorum" and Constable's "English Landscape Scenery"; Blake's minute woodcut illustrations of Virgil; large-plate mezzotints engraved by David Lucas after Constable's "The Rainbow: Salisbury Cathedral" and "The Cornfield"; and Doig's 2001 etching "Country Rock," which was recently acquired by the British Art Center and will be exhibited for the first time in the United States.
During the selection of the exhibition, the curators paid special attention to technical issues, and included examples of a wide range of printmaking techniques, including etching, aquatint, mezzotint, line-engraving and lithography. The exhibition will also feature printmaking tools and plates, as well as a group of rare progress proofs by Turner, Girtin, and Constable.
According to Gillian Forrester, associate curator of prints and drawings, "These proofs will enable visitors to trace the evolution of specific images and gain unique insights into the complex and usually highly private working processes of the greatest artists of the Romantic period."
The Yale Center for British Art, located at 1080 Chapel St., is open to the public free of charge 10 a.m.-5 p.m. Tuesday-Saturday and noon-5 p.m. Sunday. The museum is accessible to individuals using wheelchairs. For further information, call the center at (203) 432-2800 or visit the website at www.yale.edu/ycba.
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