PropertyValue
?:P102_has_title
?:P104_is_subject_to
?:P12i_was_present_at
?:P138i_has_representation
is ?:P140_assigned_attribute_to of
?:P1_is_identified_by
?:P24i_changed_ownership_through
?:P2_has_type
?:P30i_custody_transferred_through
?:P39i_was_measured_by
?:P43_has_dimension
?:P45_consists_of
?:P46i_forms_part_of
?:P48_has_preferred_identifier
?:P50_has_current_keeper
?:P52_has_current_owner
?:P55_has_current_location
?:P62_depicts
?:P65_shows_visual_item
?:P67_refers_to
?:P70_is_documented_in
?:P70i_is_documented_in
?:PX_curatorial_comment
  • Boys’s work in watercolor was closely modeled on that of his friend and mentor Richard Parkes Bonington; indeed, many of Boys’s early watercolors either copy works by Bonington or adopt the same subjects. Such is the case with this watercolor, which presents the Institut de France from almost the same vantage point as a watercolor by Bonington now in the British Museum. Bonington’s watercolor probably dates from the last year of his life, a time when he and Boys were frequently working together. Boys's watercolor is not, however, a simple copy. The angle at which Boys presents the famous building by Le Vau has shifted slightly, the foreground incident on the Quai Conti is different, and most significantly Boys includes the Pont Royal, which Bonington had inexplicably omitted. Although Boys took over many elements of Bonington’s virtuosic watercolor style, there is in Boys’s handling a crispness and precision, if also a hardness, not evident in Bonington’s more sensitively atmospheric use of the medium.
?:PX_curatorial_comment
  • Boys's work in watercolor was closely modeled on that of his friend and mentor Richard Parkes Bonington; indeed, many of Boys's early watercolors either copy works by Bonington or adopt the same subjects. Such is the case with this watercolor, which presents the Institut de France from almost the same vantage point as a watercolor by Bonington now in the British Museum. Bonington's watercolor probably dates from the last year of his life, a time when he and Boys were frequently working together. Boys's watercolor is not, however, a simple copy. The angle at which Boys presents the famous building by Le Vau has shifted slightly, the foreground incident on the Quai Conti is different, and most significantly Boys includes the Pont Royal, which Bonington had inexplicably omitted. Although Boys took over many elements of Bonington's virtuosic watercolor style, there is in Boys's handling a crispness and precision, if also a hardness, not evident in Bonington's more sensitively atmospheric use of the medium.
  • Boys’s work in watercolor was closely modeled on that of his friend and mentor Richard Parkes Bonington; indeed, many of Boys’s early watercolors either copy works by Bonington or adopt the same subjects. Such is the case with this watercolor, which presents the Institut de France from almost the same vantage point as a watercolor by Bonington now in the British Museum. Bonington’s watercolor probably dates from the last year of his life, a time when he and Boys were frequently working together. Boys's watercolor is not, however, a simple copy. The angle at which Boys presents the famous building by Le Vau has shifted slightly, the foreground incident on the Quai Conti is different, and most significantly Boys includes the Pont Royal, which Bonington had inexplicably omitted. Although Boys took over many elements of Bonington’s virtuosic watercolor style, there is in Boys’s handling a crispness and precision, if also a hardness, not evident in Bonington’s more sensitively atmospheric use of the medium.
?:PX_display_wrap
  • Bibliograpic reference ::
  • Bibliograpic reference :: A loan exhibition of English drawings and watercolours from the collection of Mr and Mrs Paul Mellon of Upperville, Virginia, P. & D. Colnaghi & Co., London, 1964, cat. no. 50, pl. XII, N5247.M385 L62 (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, p. 294, no. 110, pl. 110, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: Painting in England 1700-1850, collection of Mr. & Mrs. Paul Mellon., Virginia Museum of Fine Arts, Richmond, VA, 1963, p. 105, no. 196, ND466 V57 v.1-2 (YCBA)
  • Bibliograpic reference :: Stephen Duffy, The discovery of Paris, watercolours by early nineteenth-century British artists, The Wallace Collection, London, London, 2013, p. 73, ND1928 D84 2013 (YCBA)
  • Bibliograpic reference :: Yale University Art Gallery, English drawings and watercolors, from the collection of Mr. and Mrs. Paul Mellon, April 15 - June 20, 1965, New Haven, 1965, cat. no. 50, Pl. XII, NC228 Y34 (YCBA)
  • Dimension height :: 35.6cm
  • Dimension width :: 26.5cm
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: English Landscape (Paul Mellon Collection) 1630-1850
  • Exhibition :: Paul Mellon's Legacy : A Passion for British Art
  • Located in :: New Haven
  • Located in :: Not on view
  • Located in :: YCBA, 222, C 8, B- 6
  • Located in :: Yale Center for British Art
  • Object type :: drawing
  • Object type :: watercolor
  • Subject Concept :: architectural subject
  • Subject Concept :: barrels (containers)
  • Subject Concept :: bridge (built work)
  • Subject Concept :: buildings
  • Subject Concept :: chimneys (architectural elements)
  • Subject Concept :: cityscapes
  • Subject Concept :: doors
  • Subject Concept :: laborers
  • Subject Concept :: people
  • Subject Concept :: river
  • Subject Concept :: sky
  • Subject Concept :: steps
  • Subject Concept :: trees
  • Subject Concept :: water
  • Subject Concept :: wheels
  • Subject Concept :: windows
  • Subject Concept :: workers
  • Subject Place :: France
  • Subject Place :: Institut de France
  • Subject Place :: Paris
  • Subject Place :: Pont des Arts
  • Subject Place :: Seine
?:PX_display_wrap
  • ...
?:PX_has_credit_line
  • Yale Center for British Art, Paul Mellon Collection
?:PX_has_main_representation
?:label
  • L'Institut de France, Paris
?:type