Yale Center for British Art

Last weekend I had the pleasure of visiting the Yale Center for British Art for the second time. On my first visit (as a much younger person), I left feeling bored and rather unimpressed. While the Yale Center for British Art is still not my favorite museum, I was able to appreciate it a bit more this time around.

Upon entering the Museum, you are greeted with a very modern-looking entryway, complete with two wonderful sculptures. I believe I would have enjoyed my visit much more if there had been more of these intriguing works of art spread throughout the museum. Most of the Yale Center for British art is wonderfully open and airy, which was a pleasant change from its counterpart, the Yale Art Gallery, across the street. Although the YAG has come leaps and bounds from its pre-renovation state, it can still feel a bit cramped at times.

I truly enjoyed the layout of the Yale Center for British Art, with its four floors all opening to a large center atrium with a skylight. I feel that this, along with plenty of windows, allowed for an extremely bright and modern looking museum. Honestly, to me it appeared to be a museum built more for modern art and sculptures, rather than art painted mainly in the 18^th and 19^th centuries.

One of my most memorable moments in the Yale Center for British Art came while visiting the second floor of the museum, in a wing off the main corridor. There, high on the wall, I immediately identified two artworks painted by the subject of my previous paper, George Stubbs. Both paintings, “Horse Frightened by a Lion,” and “Horse Attacked by a Lion,” were instantly recognizable due to their similar subject matter and distinct style. It was a real treat to be able to identify the paintings, and explain a bit of history to

my girlfriend, who was kind enough to come with my on my trip.

However, it was on the fourth floor that I saw “The Wave,” by C. R. W. Nevinson. As soon as I saw it closely, I knew it would have to be the subject of my next paper. There was something about its simplicity that was stunning, and even when seen from across the room it seemed to beckon to the viewer. While it initially seems like a painting many people would pass over without a second glance, my eyes were continuously drawn to it, until I was forced to approach it for a closer look. Painted in oil, “The Wave” ranges in color from deep navy to a light blue, with the white of the crashing surf mixed in. At the top of the painting, you are allowed a glimpse of a stormy gray sky stirring the sea into a frenzy.

Painted in 1917, “The Wave” was created while the First World War was coming to a bloody finish. Nevinson, who joined the Red Cross after being rejected for active duty, was best known for his paintings depicting the scenes he witnessed while serving during the war. (Nevinson 1) After he left the Red Cross, shell-shocked and suffering from Rheumatic Fever, Nevinson claimed he never wanted to paint the war again. (Nevinson 1)

Though “The Wave” is at first glance as far from a battle scene as one can get, it is not hard to see how Nevinson's experiences on the battlefield may have contributed to this wonderful painting. With the crashing waves and dark stormy sky, it is apparent that Nevinson was deeply troubled by something in his past. Upon reading the placard for “The Wave” and learning about Nevinson's involvement in World War One, it became instantly clear what his demons were. Although Nevinson claimed upon leaving the Red Cross that he never wished to paint the War again, it is obvious in this tumultuous painting that it still weighed heavily on his mind.

Though I thought that “The Wave” was a moving enough piece of artwork without any history surrounding it, I feel that it's true meaning can only be understood when taking the artists service time during World War One into account. After looking at many of his other, much more disturbing paintings, it is obvious that Nevinson was deeply disturbed by what he saw during the War, and with good reason. While “The Wave” is not a war scene, it is hard to deny that its dark colors and harsh subject matter were not influenced by Nevinson's experiences, and I believe it is one of the most powerful works that I have ever seen.

Works Cited

Nevinson, C.R.W.

I had the pleasure of visiting the newly-renovated Yale Art Gallery on Sunday, March 11^th. Since the renovation, the building is brighter, more open, and much easier to navigate. Admission is free, and you can also borrow a wonderful audio guide from the kiosk located in the front. Many of the art pieces have a number in the placard in it, and by typing this number into your keypad, you can hear a short description of the artwork in question. I was able to get one for each member in my party, all for no charge. You simply sign them out and return them when you're done. You'll have to forgive the low quality of the pictures for this first paper. Upon arriving at the Yale Art Gallery, I discovered that I had left the battery for my camera in the charger at home, and was forced to use my cellphone instead.

The museum is mostly dull earth tones and cement, but I found this effective, as it drew your eyes to the artwork, rather than the architecture of the museum itself. Directly off the main lobby of the museum is the current display of modern art. This is where the renovation is truly noticeable, as the once dark museum is almost stunningly bright, with three full sides of floor to ceiling windows. Upstairs is where the current exhibit of African Tribal art is, which I would recommend to anyone. The painting that I selected was found on the second floor, titled “A Lion Attacking a Horse,” painted by George Stubbs in 1770.

George Stubbs was born in Liverpool, England in 1724. Amazingly, Stubbs never truly had any formal artistic training, and aside from a brief apprenticeship, was basically self taught. (Stubbs 1) Being the son of a tanner, Stubbs had a natural interest in animal anatomy, particularly the horse, and this interest is apparent in many of his works. Indeed, Stubbs approached anatomy much like a scientist, and would frequently hang the carcass of a horse on hooks in his workshop to better understand their musculature. (Stubbs 1) This extreme devotion to precise anatomy is evident in many of Stubbs most famous works, depicting a horse being frightened or attacked by a lion.

Upon seeing the painting for the first time, your eyes are immediately focused on the sharp white of the horse being attacked, which forms a stark contrast to the darkness surrounding it. It is only after one moves closer to the painting that the lion, almost completely concealed by shadows, even becomes noticeable. Upon closer examination, Stubbs amazing attention to detail becomes readily apparent. The horse is painted in stunning detail, with flaring nostrils and fear in its eyes. The mane of both the lion and horse are also excruciatingly detailed, and the muscles, in particular, show Stubbs devotion to precise anatomy. The muscles in the belly and hind legs of the horse are especially impressive, and show Stubbs skill for painting in extreme detail.

Contrasting this precise detail, the landscape around the horse is much less detailed. By using larger brushes, Stubbs creates a dark and turbulent landscape that helps focus the viewers eyes on the foreground, where the action is taking place. (Audio Guide, Yale Art Gallery) Compounded with the sharp white of the horse, the viewer is practically forced to view the frightening image in the foreground of the painting.

With his color choice, particularly in the white of the horse, Stubbs turns his painting into an expression of the sublime, which was a popular movement in the 18^th century. This belief held that a violent, frightening image would provoke a much more thought-provoking response than a tranquil scene. (Audio Guide, Yale Art Gallery) By taking this pure, white horse, and showing it being attacked by a vicious creature hidden mostly in shadows, Stubbs is hoping to stun his audience into profound thought. The lion in this painting appears almost evil, a creature made almost entirely of fangs and claws, waiting to prey on the innocent. I remember being struck by the face of the lion, shrouded in darkness, with nothing but its fangs readily apparent to the observer.

George Stubbs is an impressively detailed artist, and “A Lion Attacking a Horse” is a powerful work of art. By drawing the viewers eyes directly to the foreground of the painting where the action is taking place, Stubbs successfully expresses the idea of the sublime, and forces the viewer to entertain some profound thoughts. By painting the horse bright white, and having the lion shrouded in shadows, the viewer entertains thoughts of the battle between good and evil, among other things. It is a work that is definitely worth closer examination.

Works Cited

"Stubbs, George." Encyclopædia Britannica. Encyclopædia Britannica 2007 Ultimate Reference Suite. Chicago: Encyclopædia Britannica, 2007.

Free Audio Guide at Yale Art Gallery