With so much of the world, including Italy, under lockdown because of the coronavirus pandemic, the news is filled with quiet images of usually bustling capitals. The normally tourist-thronged streets and piazzas of Rome now look eerily empty.
This imagery is strikingly similar to the nineteenth-century photographs of Italy’s capital by the Scottish-born, but Rome-based, photographer Robert Macpherson (1814–1872). Because of the long exposure times required by mid-century cameras to activate emulsion on a negative, Macpherson frequently set up his shots in the early morning when public places were deserted, like the Piazza of St. Peter’s pictured above. Those pedestrians that may have walked through the scene would register only as a blur or not at all.
In the 1860s, when Papal Rome was isolated from the rest of the newly established kingdom of Italy and defended by a French garrison, the city did seem unnaturally vacant. In a series of photographs from 1867 showing the gates of Rome closed and fortified, Macpherson documented this unusual moment in the country’s history.
Macpherson’s photographs will be featured in Photographs of Italy and the British Imagination, 1840–1914, a future exhibition at the Yale Center for British Art.
OPENING PROGRAM Salt and Silver: Early Photography, 1840–1860
Revisit a panel discussion about early photography, moderated by Scott Wilcox, former Deputy Director for Collections at the Yale Center for British Art. The panelists include Mark Osterman, Process Historian at the George Eastman Museum, Rochester, NY; Hope Kingsley, Curator of Education and Collections, Wilson Centre for Photography; and Chitra Ramalingam, Assistant Curator of Photography, Yale Center for British Art.
The Center’s mobile app offers users an in-depth audio guide to works in the collection as well as detailed information about our landmark building, designed by Louis I. Kahn. Learn more about our building from award-winning architects and longtime stewards by selecting “search” in the app menu bar, typing in 601, and then pressing “go.”
For iOS devices (including iPhone, iPad, and iPod Touch), download the appto enhance your virtual visit.
For all other mobile devices, including Android and desktop computers, visit ourweb-based app here.
The Center is closed until further notice
As a COVID-19 precaution, the Center is closed until further notice. We are committed to the health, safety, and well-being of our visitors and staff. For updates, please continue to visit our website: britishart.yale.edu.
Image credits (top to bottom): Coloring book plate, after George Stubbs,Zebra, 1763, Yale Center for British Art, Paul Mellon Collection; Robert Macpherson,Piazza of St. Peter's, ca. 1860, albumen print on paper mounted to board, Yale Center for British Art, transfer from the Yale University Art Gallery; William Henry Fox Talbot,Nelson’s Column Under Construction, Trafalgar Square, April 1844, salted paper print from paper negative, courtesy of the Wilson Centre for Photography; App stop 601 |Introduction to Louis I. Kahn; The Center is closed until further notice; Reference Library, Yale Center for British Art, photo by Richard Caspole; Philippe Mercier,The Sense of Sight, 1744 to 1747, oil on canvas, Yale Center for British Art, Paul Mellon Collection; Classic Batchel in red leather, courtesy of the Cambridge Satchel Company
We hope you and your families are safe and healthy! We have a lot of news to share and hope it helps you during this time!
MAMARAZZI ONLINE DEBUT!
We are excited to announce that we are hosting our Mamarazzi events online. We have saved just a few spots and invite you to joinTOMORROW, Tuesday, April 7th at 8pm ESTwith comedian (formerly of SNL!) Nora Dunn for her new film, The Lost Husband. We are thrilled to support Bridget Stokes, Producer and mom entrepreneur, who we first met when we hosted her in person last year with her film, Boy Genius. Please follow Along #MamarazziOnline
The first 5 who email@example.com will be sent the Zoom meeting code and have the chance to talk to Nora and laugh with our MOMS community.
Published to accompany a major international exhibition, David Hockney: Drawing from Life features Hockney’s drawings from the 1950s to the present day, and focuses on his depictions of himself and a small group of sitters close to him: his muse, Celia Birtwell; his mother, Laura Hockney; and his friends, the curator, Gregory Evans, and master printer, Maurice Payne. In his portrait drawings of these figures, Hockney tries out new stylistic experiments and expresses his admiration for his artistic predecessors, from Holbein to Picasso.
Featuring 150 beautifully reproduced works from public and private collections across the world, this publication traces the trajectory of Hockney’s drawing practice by examining how he has revisited these five figures throughout his career. Highlights include a series of new portraits, colored pencil drawings created in Paris in the early 1970s, composite Polaroid portraits from the 1980s and a selection of drawings from an intense period of self-scrutiny during that same decade when the artist created a self-portrait every day for two months.
David Hockney: Drawing from Life accompanies the exhibition at the National Portrait Gallery, London, temporarily closed due to COVID-19. The show is scheduled to travel to the Morgan Library & Museum in New York, October 2, 2020 through January 17, 2021.
David Hockney (born 1937) is considered one of the most celebrated British contemporary artists. Hockney studied at the Bradford School of Art and the Royal College of Art with R.B. Kitaj, Allen Jones and Derek Boshier. Graduating with a gold medal, he became a leading figure in pop art. His work encompasses drawing, painting, printmaking, photography and stage design.
Spreads from David Hockney: Drawing from Life, published by National Portrait Gallery, London.
TO PREVIEW A PDF OF THE BOOK, CONTACT Danny Kopel, Director of Publicity - firstname.lastname@example.org
**All images fully copyrighted by the publisher and artist. No reproductions either in print or online are permissible without clearance.
David Hockney: Drawing from Life
Text by Sarah Howgate.
"I think the way I draw, the more I know and react to people, the more interesting the drawings will be. I don't really like struggling for a likeness. It seems a bit of a waste of effort... If you don't know the person, you don't really know if you've got a likeness at all." –David Hockney
NATIONAL PORTRAIT GALLERY, LONDON Hardcover, 9.75 x 10.5 in. / 208 pgs / 150 color. List Price: $45.00 CDN $63.00 Available May 2020