Passion for nudes
More than 100 works by the York-born artist, William Etty, are to feature in the first major exhibition of his work for 50 years.
The artist attracted controversy due to his passion for the nude which was unusual in the early 19th Century.
The exhibition, which runs at York Art Gallery until January 2012, will feature more than 100 works by Etty.
Paintings for the exhibition have been loaned by the Tate, the Royal Academy and Manchester Art Gallery.
William Etty (1787-1849) initially worked as a printer's apprentice before studying art at the Royal Academy in London.
He was inspired by the Academy's life classes and after travelling extensively in France and Italy found further inspiration in the Venetian Old Masters.
He was eventually elected as a member of the Royal Academy, ahead of John Constable, but his fascination for painting nudes attracted condemnation from many of his artistic contemporaries.
This will allow visitors to make their own judgement about the criticism directed towards Etty's art and take their own view about the artist's fleshy and voluptuous nudes.
The exhibition has taken two years to plan with research being carried out by Dr Sarah Burnage, curator at York Art Gallery.
She said Etty was one of the most significant artists of his generation.
"He was described by contemporaries as 'one of the finest specimens of historical talent that the English school has yet produced' and revered for his skills as a colourist."
Dr Burnage added that despite the acclaim he has been marginalised and neglected.
"This exhibition aims to drag Etty's art from obscurity and offer a fresh opportunity to look at the works of this remarkable artist.
19th Century English Artists - News
It's the earliest known piece signed by Cole, an English-born artist regarded as the founder of the 19th-century American art movement known as the Hudson River School. "Once his work gained popularity, it seemed the artists who were doing these types
On a nearby wall are paintings — four triptychs — that are variations on “Wisdom, Impression, Sentiment,” a painting by the 19th-century Japanese academic artist Kuroda Seiki. Mr. Murakami, who said he has “no technique as an oil painter,” asked
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NY's Fort Ticonderoga shows off its artistic side (AP) | IsuperNews
TICONDEROGA, N.Y. – Plenty of cannon, muskets, bayonets, swords and other 18th-century military hardware are on display at Fort Ticonderoga in upstate New York. Officials claim to have one of the most extensive collections of military artifacts from the 1700s, rivaling those at the Smithsonian Institution and the Tower of London.
But there’s more to see this summer and early fall at the historic site on Lake Champlain than relics from the French and Indian War and the American Revolution.
The fort’s extensive art collection is getting equal billing with the weaponry on display. For the first time since the fort was rebuilt as a tourist attraction 102 years ago, 50 of Fort Ticonderoga’s most important artworks are on display in a single exhibit.
They include a painting by Hudson River School founder Thomas Cole, engraved powder horns circa 1759, and a portrait of George Washington by Charles Peale Polk.
“You don’t have to go to New York City to see great art,” Christopher Fox, curator of collections, tells visitors to the fort, located in the southeastern Adirondacks 75 miles north of Albany. “You can go to Fort Ticonderoga and see many pieces that relate to various periods in American art.”
The exhibit — titled “The Art of War: Ticonderoga as Experienced through the eyes of America’s Great Artists” — is in the gallery on the lower floor of the new $ 23 million Mars Education Center, named for Forrest Mars Jr. and Deborah Clarke Mars. He’s an heir to the Mars candy fortune; she’s a Ticonderoga native.
Visitors to the new exhibit pass a large oil-on-canvas portrait of Deborah Mars. Once inside the intimate gallery, they see artwork that tells Fort Ticonderoga’s story, from an 18th-century map drawn when the Lake George-Lake Champlain corridor was the focus of warring European empires to black-and-white photographs that capture the fort’s crumbling condition before restoration was started by the Pell family in 1909.
The artwork includes side-by-side portraits of British Gen. James Abercromby and his French counterpart, the Marquis de Montcalm. Abercromby commanded the English army that attacked the French-built fort on July 8, 1758. The French, outnumbered 5-to-1, hastily built a defensive line of earth and log barricades about a half mile from the fort’s walls.
Despite wave after wave of frontal assaults, the French line held while mowing down hundreds of redcoats with a hail of musket fire.
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