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  • This drawing offers a salient contrast, both in technique and composition, to Barlow’s “Man Hunting with a Pointed Staff and a Hound”. The use of wash gives this boisterous composition nuance and substance; its tonal gradations made it well suited for James Collins to make a mezzotint after this drawing. Barlow’s distinctive penciling, with its nervous baroque delineations, aptly renders foliage and the animals’ furriness. Equally distinctive is Barlow’s staging of the action, where the whole surface is used. The artist’s apparent reluctance to leave empty spaces often amounted, in many of his works, to an odd assemblage of birds and animals, as if one were contemplating a curiosity cabinet. Yet, in the present drawing, a great sense of coherence and movement emerges as the emphasis is given to the chase rather than to the catch; the action, hemmed in an imaginary Italianate landscape (distant ruins, bell tower, etc.), flows effortlessly from an enclosed woody space out to an open field. Although undated, this drawing shares many features of one of Barlow’s compositions for his Aesop's Fable 41, “The Hares and Storm” (1666). The rising heron is found elsewhere in Barlow's oeuvre (“Herons”, undated drawing, Tate, London; “Animals in landscape”, undated drawing, Ashmolean Museum, Oxford; “Hares and Storm", undated drawing, British Museum, London). This motif demonstrates his skills at integrating drawings of birds and animals, done from life, into more formal compositions.
?:PX_curatorial_comment
  • This drawing offers a salient contrast, both in technique and composition, to Barlow’s “Man Hunting with a Pointed Staff and a Hound”. The use of wash gives this boisterous composition nuance and substance; its tonal gradations made it well suited for James Collins to make a mezzotint after this drawing. Barlow’s distinctive penciling, with its nervous baroque delineations, aptly renders foliage and the animals’ furriness. Equally distinctive is Barlow’s staging of the action, where the whole surface is used. The artist’s apparent reluctance to leave empty spaces often amounted, in many of his works, to an odd assemblage of birds and animals, as if one were contemplating a curiosity cabinet. Yet, in the present drawing, a great sense of coherence and movement emerges as the emphasis is given to the chase rather than to the catch; the action, hemmed in an imaginary Italianate landscape (distant ruins, bell tower, etc.), flows effortlessly from an enclosed woody space out to an open field. Although undated, this drawing shares many features of one of Barlow’s compositions for his Aesop's Fable 41, “The Hares and Storm” (1666). The rising heron is found elsewhere in Barlow's oeuvre (“Herons”, undated drawing, Tate, London; “Animals in landscape”, undated drawing, Ashmolean Museum, Oxford; “Hares and Storm", undated drawing, British Museum, London). This motif demonstrates his skills at integrating drawings of birds and animals, done from life, into more formal compositions.
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  • 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. 3, Pl. 3, N5247.M385 L62 (YCBA)
  • Bibliograpic reference :: An exhibition of English drawings and water colors from the collection of Mr. and Mrs. Paul Mellon, February 18-April 1, 1962, National Gallery of Art, Washington, D.C., 1962, pp. 7, 16, cat. no. 2, Pl. 2, NC228 U6 (YCBA) , Copy 2 is on Mellon Shelf
  • Bibliograpic reference :: British Drawings and Water-Colours in an American Collection-, Illustrated London News, vol.240,no. 6403, April 21, 1962, p. 627, Available Online: Illus.London News Hist. Archive
  • 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. 245, no. 10, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: Mahonri Sharp Young, The Mellon Drawings at the Morgan, Apollo, vo. 95, no. 122, April, 1972, pp. 330, 331, fig. 2, N1 A54 + (YCBA) , Another copy available in Vertical File - V 2330
  • Bibliograpic reference :: Painting in England 1700-1850, collection of Mr. & Mrs. Paul Mellon., Virginia Museum of Fine Arts, Richmond, VA, 1963, v. 1: p. 203, no. 389, ND466 V57 v.1-2 (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. 3, Pl. III, NC228 Y34 (YCBA)
  • Dimension depth :: 3.2cm
  • Dimension height :: 17.5cm
  • Dimension height :: 43.8cm
  • Dimension width :: 25.1cm
  • Dimension width :: 58.7cm
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: Drawing in England from Hilliard to Hogarth
  • Exhibition :: English Drawings and Watercolors from the collection of Mr. and Mrs. Paul Mellon
  • Exhibition :: In the Company of Cats and Dogs
  • Exhibition :: Paul Mellon's Legacy : A Passion for British Art
  • Located in :: New Haven
  • Located in :: Not on view
  • Located in :: YCBA, 222, Bequest Cab. E, Sh-3
  • Located in :: Yale Center for British Art
  • Object type :: drawing
  • Object type :: watercolor
  • Subject Concept :: birds
  • Subject Concept :: buildings
  • Subject Concept :: dogs (animals)
  • Subject Concept :: fence
  • Subject Concept :: hare
  • Subject Concept :: horse (animal)
  • Subject Concept :: horseback riders
  • Subject Concept :: horseback riding
  • Subject Concept :: hounds (dogs)
  • Subject Concept :: hunt
  • Subject Concept :: hunters
  • Subject Concept :: hunting
  • Subject Concept :: landscape
  • Subject Concept :: men
  • Subject Concept :: plants
  • Subject Concept :: sporting art
  • Subject Concept :: trees
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  • ...
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  • Yale Center for British Art, Paul Mellon Collection
?:label
  • Hare Hunting
?:type