The Critique of Reason : Romantic Art, 1760–1860 (Yale University Art Gallery, 2015-03-06 - 2015-07-26)This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Art Gallery of New South Wales, 1998-05-01 - 1998-07-05)This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Queensland Art Gallery, 1998-07-15 - 1998-09-06)This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Art Gallery of South Australia, 1998-09-16 - 1998-11-15)
Publications:
Acquisitions : The First Decade 1977-1986 : Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 1986, pp. 9, 15, no. 32, fig. 7, N590.2 .A7 OVERSIZE (YCBA)Sir Walter Armstrong, Lawrence, Methuen & co., ltd., London, 1913, p. 135, NJ18 L42 A75 (YCBA) Also Available Online (ORBIS)British portraits : Winter exhibition, 1956-57., , , Royal Academy of Arts, London, 1956, v.1, p. 125, no. 399, N5054 A545 1956/57 v. 1 and 2 (YCBA) Alao available on Microfiche; Fiche B196, fiche #'s 1 - 4David Cannadine, Aspects of aristocracy, grandeur and decline in modern Britain , Yale University Press, New Haven, 1994, p. 34, fig. 4, HT653 G7 C357 1994 {YCBA)Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 142-43, N590.2 .A83 (YCBA)Dr. Kenneth Garlick, A Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence, Volume of the Walpole Society, v. 39, Walpole Society, 1962-1964, p. 125, N12 W35 A1 39 + (YCBA)Dr. Kenneth Garlick, Sir Thomas Lawrence, a complete catalogue of the oil paintings , Phaidon, Oxford, 1989, p. 224, no. 488, fig. 488, NJ18 L42 G376 (YCBA)Dr. Kenneth Garlick, Sir Thomas Lawrence, Routledge & Kegan Paul, London, 1954, p. 46, pl. 40, NJ18 L42 G37 (YCBA)Ronald Sutherland Gower, Sir Thomas Lawrence, Goupil, J. Boussod, Manzi, Joyant, successors, London New York, 1900, p. 133, NJ18 L42 G7 + (YCBA)Michael Levey, Sir Thomas Lawrence, 1769-1830, National Portrait Gallery, London, 1979, pp. 44-45, no. 20, NJ18 L42 L48 (YCBA)Julia Marciari-Alexander, This other Eden : Paintings from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 1998, p. 108, no. 40, ND1314.3 Y36 1998 (YCBA)Paul Mellon's Legacy : a passion for British art [large print labels], , Yale Center for British Art, New Haven, CT, 2007, v.3, N5220 M552 P381 2007 OVERSIZE (YCBA)Duncan Robinson, Acquisitions : The First Decade 1977 - 1986, , Burlington Magazine, vol. 128, October 1986, pp. 9, 15, cat. 32, fig. 7, N1 .B87 128:3 OVERSIZE (YCBA)South Kensington Museum, Catalogue of the third and concluding exhibition of national portraits commencing with the fortieth year of the reign of George the Third and ending with the year MDCCCLXVII. On loan to the South Kensington museum. April 13, 1868., London, 1868, p. 93, No. 460, N7598 S6 1868 (YCBA)The critique of reason : Romantic art, 1760-1860 : March 6-July 26, 2015, Yale University Art Gallery, Yale University Art Gallery, New Haven, 2015, [pp. 10, 11], fig. 16, V 2574 (YCBA)
Gallery Label:
Thomas Lawrence was a child prodigy and largely selftaught as a painter. By 1789 he had established himself as heir to Joshua Reynolds in the tradition of grand manner portrait painting and was appointed Painter in Ordinary to King George III when Reynolds died in 1792. Lawrence was, however, notoriously slow at painting, often taking on too many portrait commissions in a bid to pay off his extensive debts. This full-length of Lord Granville LevesonGower was begun in 1804 but remained unfinished in 1809, causing the sitter’s mother to berate Lawrence for his “sad illiberal way of going on.” Lawrence’s work was, however, highly esteemed across Europe, especially in France where his bravura style and rich coloring were emulated by the younger romantics such as Eugène Delacroix, who visited Lawrence in London in 1825. Gallery label for installation of YCBA collection, 2016