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  • Gainsborough’s landscapes from his late Bath period are highly structured, although they radiate a sense of ease and naturalness. After years of creating what appeared to be fresh and unmediated visions of the English landscape, in the early 1770s Gainsborough began to paint and draw formally composed meditations on the idyll of rustic life, consciously mimicking the landscape precepts of the seventeenth-century painter Claude Lorrain. Hence, in this painting, our eye moves from the darker foreground figures shaded by a grove of trees and follows the winding river and arching bridge in the middle distance out to a background featuring a town bathed in a glowing evening light. A drawing related to “Landscape with Cattle” in the collection of the Yale Center for British Art suggests that Gainsborough carefully worked out some of his paintings at this time through the medium of drawing, experimenting with minute compositional shifts that would have a great impact on the nature of the finished work. The three cows are grouped more statically in the Center’s drawing than in the finished painting. It is generally thought that Gainsborough produced only rough sketches for his paintings, preferring to work out compositions as he painted. However, the fact that he had only recently begun painting landscapes of this kind, which would have demanded a more rigorous working method, argues for the supposition that the Center’s drawing preceded “Landscape with Cattle”.
?:PX_curatorial_comment
  • Gainsborough’s landscapes from his late Bath period are highly structured, although they radiate a sense of ease and naturalness. After years of creating what appeared to be fresh and unmediated visions of the English landscape, in the early 1770s Gainsborough began to paint and draw formally composed meditations on the idyll of rustic life, consciously mimicking the landscape precepts of the seventeenth-century painter Claude Lorrain. Hence, in this painting, our eye moves from the darker foreground figures shaded by a grove of trees and follows the winding river and arching bridge in the middle distance out to a background featuring a town bathed in a glowing evening light. A drawing related to “Landscape with Cattle” in the collection of the Yale Center for British Art suggests that Gainsborough carefully worked out some of his paintings at this time through the medium of drawing, experimenting with minute compositional shifts that would have a great impact on the nature of the finished work. The three cows are grouped more statically in the Center’s drawing than in the finished painting. It is generally thought that Gainsborough produced only rough sketches for his paintings, preferring to work out compositions as he painted. However, the fact that he had only recently begun painting landscapes of this kind, which would have demanded a more rigorous working method, argues for the supposition that the Center’s drawing preceded “Landscape with Cattle”.
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  • Alternate title :: A Landscape with Cattle and Figures by a Stream and a Distant Bridge
  • Alternate title :: A Woody Stream with Pastoral Figures and Distant Bridge
  • Alternate title :: Wooded Stream with Pastoral Figures and Distant Bridge
  • Alternate title :: Woody Stream with pastoral Figures and Distant Bridge
  • Bibliograpic reference :: Amal Asfour, Gainsborough's vision, Liverpool University Press, Liverpool [England], 1999, p. 189, no. 112, NJ18 G16 A74 1999 (YCBA)
  • Bibliograpic reference :: Angus Trumble, Object Lesson, Two kandscapes by Gainsborough, Yale Alumni Magazine, v. 69, no, 1, September/October, 2005, p. 58, Yh10 +A2 (SML Mss & Arvives AND LSF) , Also available online at www.yalealumnimagazine.com
  • Bibliograpic reference :: British Art at Yale, Apollo, v.105, no. 182, April 1977, p. 287, fig. 5, N5220 M552 A7 1977 OVERSIZE (YCBA) , Published as April 1977 issue of Apollo; all of the articles may also be found in bound Apollo Volume [N1 A54 105:2 +]
  • Bibliograpic reference :: Christie's sale catalogue : Catalogue of the small but highly important collection of modern pictures : 19 May 1866, Christie's, Christie, Manson & Woods, London, May 19, 1866, p. 8, Lot 38, Fiche B51, Fiche# 0026 (YCBA) , Also available online " Art Sales Catalogues Online - Lugt # 29147
  • Bibliograpic reference :: Christie's sale catalogue: Catalogue of the Important Collection of Ancient and Modern Paintings and Water-colour Drawings : 10 May 1878, Christie's, Christie, Manson & Woods, London, May 10, 1878, p. 32, Lot 239, Fiche B51 (YCBA) , Also Available online : Art Sales Catalogues Online - Lugt # 38377
  • Bibliograpic reference :: David Brenneman, Thomas Gainsborough's Wooded Landscape with Cattle by a Pool, Art Criticism and the Royal Academy, Gainsborough's House Review, 1995-1996, pp. 38-39, fig 8, N1494 G25 (YCBA)
  • Bibliograpic reference :: Ellis Waterhouse, Gainsborough, Spring Books, London, 1966, p. 112, no. 890, pl. 81, NJ18 G16 A12 W28 1966 + OVERSIZE (YCBA)
  • Bibliograpic reference :: G. W. Fulcher, Life of Thomas Gainsborough., Longman, London, 1856, p. 238, NJ18 G16 F85 (YCBA)
  • Bibliograpic reference :: Gainsborough, 1727-1788, Grand Palais, 6 fâevrier-27 avril 1981., Editions Réunion des Musées Nationaux, Paris, 1981, p. 140, No. 46, NJ18 G16 H393 (YCBA)
  • Bibliograpic reference :: Isetan Bijutsukan, Eikoku fåukeiga ten =, British landscape paintings from the Fitzwilliam Museum, Cambridge, Tenrankai Katarogu Iinkai, Tokyo, Japan, 1992, pp. 36-37, no. 6, ND1354.5 E5 1992 (YCBA)
  • Bibliograpic reference :: Jack Lindsay, Thomas Gainsborough, his life and art, Granada, London, 1981, p. 108, NJ18 G16 L55 1981 (YCBA)
  • Bibliograpic reference :: John Baskett, Paul Mellon's legacy, a passion for British art : masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, pp. 257-58, no. 37, pl. 37, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: John T. Hayes, Gainsborough: paintings and drawings, Phaidon, London New York, 1975, p. 217, no. 83, pl. 109, NJ18 G16 H395 + (YCBA)
  • Bibliograpic reference :: John T. Hayes, The drawings of Thomas Gainsborough, The Paul Mellon Centre for Studies in British Art, New Haven London, 1971, p. 194 (v.1), no. 368 (v.1), pl. 282 (v. 2), NJ18 G16 H39 + (YCBA)
  • Bibliograpic reference :: John T. Hayes, The landscape paintings of Thomas Gainsborough, a critical text and catalogue raisonné, Sotheby Publications, London, 1982, pp. 452-55 (v.2), v. 2, no. 108, pl. 151 (v. 1), NJ18 G16 A12 H39 1982 + OVERSIZE (YCBA)
  • Bibliograpic reference :: John T. Hayes, Thomas Gainsborough, Tate Publishing, [S.l., 1980, pp. 121-22, no. 114, fig. 114, NJ18 G16 H48 (YCBA)
  • Bibliograpic reference :: Julia Marciari-Alexander, This other Eden, paintings from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1998, p. 14; pp. 82-83, no. 28, fig. 13, ND1314.3 Y36 1998 (YCBA)
  • Bibliograpic reference :: Malcolm Cormack, A Selective Promenade, Apollo, v.105, no. 182, April 1977, p. 287, fig. 5, N1 A54 + (YCBA) , Another copy of this article may be found in a separately bound and catalogued copy of this issue located on the Mellon Shelf [call number : N5220 M552 A7 1977 + (YCBA)]
  • Bibliograpic reference :: Malcolm Cormack, The paintings of Thomas Gainsborough, Cambridge University Press, Cambridge, New York, 1991, p. 114, NJ18 G16 C66 1991 (YCBA)
  • Bibliograpic reference :: Meredyth Proby, Remarkable Connoisseur, Country Life, June 1990, p. 256, S3 C68 + (YCBA)
  • Bibliograpic reference :: Michael Rosenthal, The art of Thomas Gainsborough, "a little business for the eye", Yale Center for British Art, New Haven, 1999, p. 45, pl. 50, NJ18 G16 R67 1999 (YCBA)
  • Bibliograpic reference :: Paul Mellon's Legacy, a passion for British art. [large print labels], Yale Center for British Art, New Haven, CT, 2007, v.3, N5220 M552 +P381 2007, Mellon Shelf (YCBA)
  • Bibliograpic reference :: Paul Mellon's legacy, a passion for British art. [large print labels], Yale Center for British Art, New Haven, CT, 2007, v.3, N5220 M552 +P381 2007, Mellon Shelf (YCBA)
  • Bibliograpic reference :: Ronald Paulson, Emblem and expression, meaning in English art of the eighteenth century, Thames and Hudson, London, 1975, p. 247, NX543 P38 (YCBA)
  • Dimension height :: 120.0cm
  • Dimension width :: 145.4cm
  • Exhibition :: 2016 Installation YCBA - 401
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: British Landscape Exhibition (Japan)
  • Exhibition :: Connections
  • Exhibition :: Sensation and Sensibility: Viewing Gainsborough's " Cottage Door "
  • Exhibition :: This Other Eden : British Paintings from the Paul Mellon Collection at Yale
  • Exhibition :: Thomas Gainsborough (Tate)
  • Located in :: 401
  • Located in :: Bay01
  • Located in :: New Haven
  • Located in :: On view
  • Located in :: YCBA, 401, Bay01
  • Located in :: Yale Center for British Art
  • Object type :: painting
  • Subject Concept :: Classical
  • Subject Concept :: banks
  • Subject Concept :: cattle
  • Subject Concept :: cows
  • Subject Concept :: figures
  • Subject Concept :: hills
  • Subject Concept :: landscape
  • Subject Concept :: men
  • Subject Concept :: people
  • Subject Concept :: stream
  • Subject Concept :: town
  • Subject Concept :: trees
  • Subject Concept :: woman
  • Subject Place :: Avon
  • Subject Place :: England
  • Subject Place :: United Kingdom
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  • Yale Center for British Art, Paul Mellon Collection
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  • Landscape with Cattle
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