Signed and dated in black paint, lower left: "E A Hornel 94"
Credit Line:
Yale Center for British Art, Gift of Isabel S. Kurtz in memory of her father, Charles M. Kurtz
Copyright Status:
Public Domain
Accession Number:
B1989.17.5
Classification:
Paintings
Collection:
Paintings and Sculpture
Subject Terms:
clouds | sky | port | portrait | genre subject | marine art | boats | ships | sailboats | junks | dock | kimono | fan | hairpiece | harbor | city | sea | balcony | woman | water | shipping | texture | pattern | Japonism
Associated Places:
Japan | Yokohama | Tokyo Bay
Currently On View:
Not on view
Exhibition History:
Pioneering Painters: The Glasgow Boys 1880-1900 (Culture and Sport Glasgow, 2010-04-09 - 2010-09-27)
Publications:
Roger Billcliffe, Pioneering painters, the Glasgow boys , Glasgow : Culture and Sport Glasgow (Organization), 2010, pp.72,74,110-11,, no. 77, ND 481 G5 B56 2010 (YCBA)Susie Hodge, Glasgow Boys, Masterpieces of Art, Flame Tree Publishing, Fulham, London, p. 121, ND481.G5 H63 2018 (LC) (YCBA)Jean Walsh, Introducing the Glasgow Boys, Glasgow : Glasgow Museums Publishing, 2010, p. 39, ND481 G5 W35 2010 (YCBA)
Gallery Label:
Born in Australia, E. A. Hornel immigrated to Kirkcudbright, Scotland, as a young boy. Although he attended art school in Edinburgh and completed his training in Antwerp, he eventually rejoined his parents in Kirkcudbright and became part of a constellation of artists working there during the 1880s and 1890s. The self-described “Glasgow Boys” formed the loosely affiliated Glasgow School that took inspiration from James McNeill Whistler and collectively resisted the dominance of London and Edinburgh over the fin-de-siècle art scene. Hornel formed a particular friendship with George Henry, whose Blowing Dandelions is also in the collection and, like Flower Market, Nagasaki, reflects the group’s tendency to emphasize shape and color over realism, in a manner sympathetic to impressionism and postimpressionism. Hornel traveled with Henry to Japan for eighteen months in 1893–94 and, on unfamiliar ground, continued the close observation of daily life that had provided material for his popular landscape paintings in Scotland. Gallery label for installation of YCBA collection, 2016