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  • The strands of ideal and topographical landscape, quite separate and distinct at the beginning of the eighteenth century - and in the work of Lens - would become increasingly entwined over the course of the century. William Taverner, a lawyer and amateur draftsman and painter, felt less constraint in combining classical elements with observation of the English countryside. George Vertue credited Taverner with "a wonderful genius to drawing of Landskap in an excellent manner, adorned with figures in a stile above the common." The inscription on the verso of Nymphs Bathing in a Glade, just such a figure adorned landscape, suggests that in this work Taverner echoed, if not copied, a composition by the seventeenth-century Dutch Italianate painter Cornelis Poelenbergh. Despite his amateur status Taverner's landscapes were much admired and his drawings collected by professional artists such as Paul Sandby and connoisseurs such as Richard Payne Knight. At his death the Gentleman's Magazine deemed him 'one of the best landscape painters England has ever produced." He has continued to be regarded as one of the important early contributors to the rise of landscape painting in England.
  • Bibliograpic reference ::
  • Bibliograpic reference :: Scott Wilcox, British watercolors, drawings of the 18th and 19th centuries from the Yale Center for British Art, Hudson Hill Press, New York, 1985, no. 4, pl. 4, ND1928 W533 1985 (YCBA)
  • Dimension height :: 30.5cm
  • Dimension width :: 38.7cm
  • Exhibition :: British Watercolors - Drawings of the 18th and 19th Centuries from the Yale Center for British Art
  • Exhibition :: The Line of Beauty : British Drawings and Watercolors of the Eighteenth Century
  • Located in :: New Haven
  • Located in :: Not on view
  • Located in :: YCBA, 222, C 4, T- 1
  • Located in :: Yale Center for British Art
  • Object type :: drawing
  • Object type :: watercolor
  • ...
  • Yale Center for British Art, Paul Mellon Collection
  • Nymphs Bathing in a Wooded Glade