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  • Like the oil sketches on which his modern reputation largely rests, Jones’s watercolors were meant not for sale or public display but for his personal amusement and reference. In his memoirs Jones recorded “making some Drawings in the garden belonging to the English colledge upon Mount Palatine” on 21 May 1778 (Jones, “Memoirs”, p. 72). This watercolor, together with another of a similar view in a private collection (Sumner and Smith, 2003, no. 89), were presumably the drawings made that day. At least Jones would have done the graphite underdrawing on the Palatine. The actual working up of his drawings in watercolor, quite highly finished for sketches done outdoors, may have taken place later. Despite the popular modern conception of Jones as a plein-air artist, derived from his oil sketches, it seems likely that the drawings were not finished on the spot. As Greg Smith has suggested, Jones’s standard practice was probably to draw on site with graphite and add watercolor later (Sumner and Smith, 2003, pp. 185–99). Although the watercolors may lack the plein-air immediacy of the oil sketches—and we may question whether some of the oil sketches may also be less spontaneous creations than they appear—they, nonetheless, have an undeniable sensitivity and delicate beauty.
?:PX_curatorial_comment
  • Like the oil sketches on which his modern reputation largely rests, Jones’s watercolors were meant not for sale or public display but for his personal amusement and reference. In his memoirs Jones recorded “making some Drawings in the garden belonging to the English colledge upon Mount Palatine” on 21 May 1778 (Jones, “Memoirs”, p. 72). This watercolor, together with another of a similar view in a private collection (Sumner and Smith, 2003, no. 89), were presumably the drawings made that day. At least Jones would have done the graphite underdrawing on the Palatine. The actual working up of his drawings in watercolor, quite highly finished for sketches done outdoors, may have taken place later. Despite the popular modern conception of Jones as a plein-air artist, derived from his oil sketches, it seems likely that the drawings were not finished on the spot. As Greg Smith has suggested, Jones’s standard practice was probably to draw on site with graphite and add watercolor later (Sumner and Smith, 2003, pp. 185–99). Although the watercolors may lack the plein-air immediacy of the oil sketches—and we may question whether some of the oil sketches may also be less spontaneous creations than they appear—they, nonetheless, have an undeniable sensitivity and delicate beauty.
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  • 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. 263, no. 48, pl. 48, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: Thomas Jones (1742-1803) : an artist rediscovered, , Yale University Press, New Haven, CT, 2003, p. 197, no. 90, pl. no. 90, NJ18 J714 T56 2003 OVERSIZE (YCBA)
  • Dimension height :: 27.3cm
  • Dimension width :: 41.3cm
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: Classic Ground - British Artists and the Landscape of Italy, 1740-1830
  • Exhibition :: Paul Mellon's Legacy : A Passion for British Art
  • Exhibition :: Presences of Nature - British Landscape 1780-1830
  • Exhibition :: The Line of Beauty : British Drawings and Watercolors of the Eighteenth Century
  • Exhibition :: Thomas Jones (1742-1803)
  • Located in :: New Haven
  • Located in :: Not on view
  • Located in :: Yale Center for British Art
  • Object type :: watercolor
  • Subject Concept :: amphitheater
  • Subject Concept :: aqueduct
  • Subject Concept :: arches
  • Subject Concept :: architectural subject
  • Subject Concept :: landscape
  • Subject Concept :: ruins
  • Subject Concept :: trees
  • Subject Event :: Grand Tour
  • Subject Place :: Aqua Claudia
  • Subject Place :: Colosseum
  • Subject Place :: Italy
  • Subject Place :: Lazio
  • Subject Place :: Roma
  • Subject Place :: Rome
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  • ...
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  • Yale Center for British Art, Paul Mellon Collection
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?:label
  • The Claudian Aqueduct and Colosseum
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