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Using a process known as X-ray fluorescence spectroscopy, Yale conservationist Richard Hark revealed how artist John Frederick Lewis made the central figure taller in his 1843 painting “A Frank Encampment in the Desert of Mount Sinai.”
Learn more courtesy of the Yale Center For British Art and the Yale Institute for the Preservation of Cultural Heritage:
https://bit.ly/30wgHZ9
R.B. Kitaj
Amerika (Baseball), 1983-84
oil on canvas
60 x 60 inches
collection Yale Center For British Art
copyright R.B. Kitaj Estate
"I believe in the goodness of a free society. And I believe that society can remain good only as long as we are willing to fight for it – and to fight against whatever imperfections may exist." - Jackie Robinson
Is there anything better than different art forms connecting in the same space? Pictured here are the beautiful paintings of the Yale Center For British Art, live music from Andreas Brade and Welf Dorr, and our stunning company dancers in our 2018 performance (note the Joseph Mallord William Turner painting in the background!)
Photo: Adam Campos
This is a Rough-Coated Collie by artist James Ward (1809) at the Yale Center For British Art.
On this day in 1844, the teenager George Lothian Hall was painting ships in the Bay of Gibraltar. Not much is known about him, but several of his watercolours of the area have ended up in the Yale Center For British Art.
Image details: 'Part of the Bay of Gibraltar, the Spanish Lines', 31 January 1844, George Lothian Hall. Public Domain, Yale Center for British Art
Link:
https://buff.ly/2tODcMO
One of my all time favorite museum spaces: Louis Kahn's Yale Center For British Art
This is the first exhibition at the Yale Center For British Art dedicated exclusively to filmmaking and video art. Works on view address the relationship between people and place, especially as the result of forced migration and dislocation.
We’ve started day 2 of “Material Immaterial” at the Yale Center For British Art! There will be a series of panels this morning discussing collecting the immaterial, market effects, collections as data sets, and materials and meaning. Seminars this afternoon will tackle topics including issues in reprinting color photographs, neural nets for image analysis, the promises and limits of digitization in studying historic photographic processes, and William Henry Fox Talbot’s “The Pencil of Nature.”
We’ve started day 2 of “Material Immaterial” at the Yale Center For British Art! There will be a series of panels this morning discussing collecting the immaterial, market effects, collections as data sets, and materials and meaning. Seminars this afternoon will tackle topics including issues in reprinting color photographs, neural nets for image analysis, the promises and limits of digitization in studying historic photographic processes, and William Henry Fox Talbot’s “The Pencil of Nature.”
We’ve started day 2 of “Material Immaterial” at the Yale Center For British Art! There will be a series of panels this morning discussing collecting the immaterial, market effects, collections as data sets, and materials and meaning. Seminars this afternoon will tackle topics including issues in reprinting color photographs, neural nets for image analysis, the promises and limits of digitization in studying historic photographic processes, and William Henry Fox Talbot’s “The Pencil of Nature.”
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