9
Portfolios%3D%22598%22%20and%20Century%3D%2218th%20Century%22
Painting
Mary Smith Booth (1744-1824)
Ralph Earl, 1751 - 1801
Earl, Ralph
United States
1751 - 1801
Male
38 x 31 in. (96.5 x 78.7 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1790
1790
1790
1600-1800, 18th century, paintings, portraits, women
Painting
left, center
1957.13
item
Memorial Art Gallery
9/8/1999
57.13SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.13DI2
digital image
Memorial Art Gallery
Imaging Complete
3/13/2002
http://127.0.0.1:5000/Media/images/57.13_A1.jpg
glossy
full
8 x 10
00/00/00
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negative
full
2 x 2.5
00/00/00
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negative
full
4 x 5
00/00/00
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glossy
full
5 x 7
00/00/00
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57.13TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.13DI1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/57.13.jpg
57.13DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Mrs. William Provis of Bath
Thomas R. A. Gainsborough, (Sudbury, England, 1727 - 1788, London)
Gainsborough, Thomas R. A.
England
1727 - 1788
Male
29 1/2 x 24 in. (74.9 x 61 cm)
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overall
frame
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.
Oil
Oil
1766
1766
1766
1600-1800, 18th century, George Eastman Collection, paintings, portraits, women
Painting
A founding member of the Royal Academy, Thomas R. A. Gainsborough was a premier 18th-century English portraitist whose upward trajectory to fame began with a strategic move to Bath, a town with many portrait-commissioning British gentry. This particular portrait captures Bath resident Ann Pigott in her lonely and isolated youth. At 17, she married a much older William Provis and was left alone and childless while he lived at his country estate. As British gentry were selling family art collections in face of financial strain from estate taxes implemented in 1894, newly-wealthy Americans were building art collections. George Eastman acquired this portrait in 1912 in that manner and later bequeathed it to the University of Rochester.[
Label text from It Came From the Vault exhibition, 2013]
1978.1
item
Memorial Art Gallery
11/2/2000
78.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
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negative
4 x 5
00/00/00
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78.1DI1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/78.1_A1.jpg
78.1DI#2
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/78.1_A2.jpg
78.1DI#3
digital image
11/27/2017
http://127.0.0.1:5000/Media/images/78.1_A3.jpg
Painting
Mrs. John Addison (Lucy Clark)
John Hoppner, (London, 1758 - 1810, London)
Hoppner, John
England
1758 - 1810
Male
28 x 21 in. (71.1 x 53.3 cm)
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.
.
Oil
Oil
ca. 1789
1784
1794
1600-1800, 18th century, George Eastman Collection, paintings, portraits, women
Painting
Having a portrait painted by a noted artist such as John Hoppner was a mark of status; decades later, American collectors still enjoyed the prestige of owning portraits of European gentry. Even into the twentieth century, America was seen as a young country, and newly-wealthy Americans could “borrow” the pedigree that accompanied the sitter by displaying these portraits. Comprehensive estate taxes were introduced in England in 1894, and in the years that followed, families were forced to sell off some of their family holdings, including real estate, household belongings, and works of art, to pay these death duties. At the same time, wealthy American industrialists like George Eastman, who owned this painting and several other British portraits, were building their art collections, and bought family portraits as well as Old Master works as they came on the market.
Little is known of Mrs. Addison; her husband was in the civil service of the East India Company, and they lived in India for much of their married life.
[Gallery label text, 2008]
1978.2
item
Memorial Art Gallery
11/2/2000
78.2SL1
slide
full
2 x 2
00/00/00
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negative
4 x 5
00/00/00
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glossy
8 x 10
00/00/00
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78.2DI1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/78.2_A1.jpg
Painting
Eleanor Todd, Lady Maitland (1762-1856)
George Romney, (Dalton-in-Furness, England, 1734 - 1802, Kendal, England)
Romney, George
England
1734 - 1802
Male
30 x 25 in. (76.2 x 63.5 cm)
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Oil
Oil
after 1782
1783
1792
1600-1800, 18th century, George Eastman Collection, paintings, portraits, women
Painting
This unfinished portrait depicts Eleanor Todd, who became Lady Maitland in 1782 when she married James, Viscount Maitland, eighth Earl of Lauderdale. Although it is not known why the portrait was never completed, at this point in his career, Romney had a large number of unfinished paintings in his studio. Sitters were required to pay half his fee before the painting could commence, but the daunting schedule of sittings and the artist’s demands for specific poses and clothing dissuaded some clients from continuing the professional relationship. Still, the presence of half-finished portraits in the studio served as a sort of showcase, enabling potential subjects to see examples of Romney’s work.
[Gallery label text, 2008]
1977.2
item
Memorial Art Gallery
11/3/2000
77.2SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
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negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.2DI1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/77.2_A1.jpg
77.2DI#2
digital image
10/20/2014
http://127.0.0.1:5000/Media/images/77.2_A2.jpg
Painting
The Triumph of Judith
Francesco Solimena, 1657 - 1747
Solimena, Francesco
Italy
1657 - 1747
Male
38 3/4 x 49 1/4 in. (98.4 x 125.1 cm)
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without frame
Oil
Oil
1704-1708
1704
1708
1600-1800, 18th century, Judith, paintings, women
Painting
The subject of Judith cutting off the head of Holofernes was one of the most popular subjects in Christian art of the 1600s and 1700s. The Old Testament story tells how the heroine Judith went to the camp of Holofernes, the Assyrian general who was besieging her town. She dazzled him with her beauty; after pretending to accept his advances, she beheaded him with his own sword while he was in a drunken stupor.
This painting illustrates the moment when Judith displays the trophy of her victory to the citizens she has rescued. In a Christian context, the story of the Jewish heroine represents the triumph of virtue over evil. During the Counter-Reformation, the subject also became a powerful symbol of the Catholic Church’s triumph over heresy, or dissent from its teachings. Here, Solimena shows Judith as confident that she has served the will of God. The dramatic lighting, gestures and facial expressions of the figures are intended to appeal to the emotions and inspire the faith that motivated Judith.
back of canvas, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial file, written on torn piece of tape. Probably the Intermuseum Laboratory's internal number.back of stretcher, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial file
1977.109
item
Memorial Art Gallery
1/22/2001
77.109TR2
transparency
conserved
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.109TR1
transparency
pre-conservation
4 x 5
00/00/00
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77.109SL1
slide
full
2 x 2
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glossy
8 x 10
00/00/00
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glossy
4 x 5
00/00/00
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77.109SL2
slide
detail of Abra
2x2
00/00/00
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77.109SL3
slide
detail
2x2
00/00/00
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77.109DI1
digital image
pre-conservation
00/00/00
http://127.0.0.1:5000/Media/images/77.109_A2.jpg
77.109DI#2
digital image
full
4/10/2006
http://127.0.0.1:5000/Media/images/77.109_A1.jpg
77.109TR3
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Print
Courtesan and attendant
Suzuki Harunobu, (1724 - 1770)
Suzuki Harunobu
Japan
1724 - 1770
Male
Designer
10 3/16 x 7 5/16 in. (25.8 x 18.5 cm)
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.
.
sheet
Printer's ink
Printer's ink
0
0
1600-1800, Japanese, Ukiyo-e, women, woodcuts
Print
, Signature: Harunobu ga
1997.204
item
Memorial Art Gallery
6/22/2000
97.204DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.204_A1.jpg
97.204SL
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Miss Sophia Hoare
Sir Joshua Reynolds, (Plymouth, England, 1723 - 1792, London)
Reynolds, Joshua
England
1723 - 1792
Male
36 x 28 in. (91.4 x 71.1 cm)
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overall
frame
Oil
Oil
1783
1783
1783
1600-1800, 18th century, George Eastman Collection, paintings, portraits, women
Painting
Joshua Reynolds was the leading portrait painter in 18th-century England, the first president of London’s Royal Academy, and a respected art critic. He frequently modeled his sitters’ poses on those seen in Old Master painting and ancient classical sculpture. Reynolds’ use of rich color, strong lighting, and loose brushwork greatly influenced the next generation of British portraitists, including Sir Thomas Lawrence and Sir Henry Raeburn.
The young woman in this portrait, Sophia Hoare (c. 1765-1836), was the daughter of Richard Hoare, an heir to the founder of England’s oldest private bank. Sophia’s portrait was commissioned by William Grimston, whom she married in February 1783. Reynolds noted the transaction in his account books: “Miss Hoare, paid by Mr. Grimpstone, £ 78 15s.; a very proper attention on the part of the fiancé.”
[Forman Gallery, Summer 2015]
1977.1
item
Memorial Art Gallery
5/12/2000
77.1TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.1SL1
slide
full
2 x 2
00/00/00
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glossy
8 x 10
00/00/00
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glossy
5 x 7
00/00/00
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negative
4 x 5
00/00/00
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negative
8 x 10
00/00/00
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77.1DI1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/77.1_A1.jpg
77.1DI#2
digital image
7/7/2015
http://127.0.0.1:5000/Media/images/77.1_A2.jpg
x-ray
00/00/00
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Painting
The Visit (Le visite à la gardien)
Jean-Baptiste Le Prince, (Metz, 1734 - 1781, Saint-Denis)
Le Prince, Jean-Baptiste
France
1734 - 1781
Male
34 3/4 x 50 3/4 in. (88.3 x 128.9 cm)
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Oil
Oil
1779
1779
1779
1600-1800, 18th century, horses, houses, landscapes, men, paintings, women
Painting
Le Prince studied with the rococo painter François Boucher and adopted his master's delicate manner and cool, pastel palette in his early work. Dating from late in his career, however, "The Visit" demonstrates a greater naturalism, reflecting the increasing popularity of seventeenth-century Dutch painting in eighteenth-century France. In this canvas, Le Prince has combined a genre scene with a panoramic landscape to suggest a gracious moment in everyday rural life. The subject of nobles visiting a peasant family would have appealed to the sense of humanity cultivated during the Enlightenment.
[Gallery label text, 2008]
lower left
1977.102
item
Memorial Art Gallery
1/25/2001
77.102TR2
transparency
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.102TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.102SL1
slide
full
2 x 2
00/00/00
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glossy
8 x 10
00/00/00
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negative
4 x 5
00/00/00
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77.102DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/77.102_A1.jpg
77.102DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/77.102_A2.jpg
Print
Lady Gertrude Villiers
Charles Wilkins, (1750 - 1814)
Wilkins, Charles
England
1750 - 1814
Male
15 x 14 5/8 in. (38.1 x 37.1 cm)
.
.
.
sheet (irregular)
Printer's ink
Printer's ink
1800
1800
1800
1800-1900, 19th century, engravings, portrait, portraits, women
Print
1941.14
item
Memorial Art Gallery
9/1/2000
41.14SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.14DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/41.14_A1.jpg
41.14DI#2
digital image
11/17/2022
http://127.0.0.1:5000/Media/images/41.14_A2.jpg