“The Artful Disposition of Shades"
January 19, 2010, through March 14, 2010
The Great Age of English Mezzotints
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John Dixon after George Stubbs, A Tigress, 1773, mezzotint. Hood Museum of Art, Dartmouth College: Purchased through the Julia L. Whittier Fund and proceeds from “One Night in November,” 2008; 2008.33.
John Dixon after George Stubbs
A Tigress
1773
Mezzotint.
Hood Museum of Art, Dartmouth College: Purchased through the Julia L. Whittier Fund and proceeds from “One Night in November,” 2008; 2008.33.
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James Watson after Anthony van Dyck, Paulus Pontius, about 1764, mezzotint. Hood Museum of Art, Dartmouth College: Purchased through the Guernsey Center Moore 1904 Memorial Fund; PR.987.69.
James Watson after Anthony van Dyck
Paulus Pontius
About 1764
Mezzotint.
Hood Museum of Art, Dartmouth College: Purchased through the Guernsey Center Moore 1904 Memorial Fund; PR.987.69.
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Thomas Frye, Ipse (Self-Portrait), 1760, mezzotint. Hood Museum of Art, Dartmouth College: Purchased through a gift from the Cremer Foundation in memory of J. Theodore Cremer; 2006.53.
Thomas Frye
Ipse (Self-Portrait)
1760
Mezzotint.
Hood Museum of Art, Dartmouth College: Purchased through a gift from the Cremer Foundation in memory of J. Theodore Cremer; 2006.53.
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Richard Earlom after Joseph Wright of Derby, A Blacksmith’s Shop, 1771, mezzotint. Hood Museum of Art, Dartmouth College: Purchased through the Julia L. Whittier Fund; PR.952.66.
Richard Earlom after Joseph Wright of Derby
A Blacksmith’s Shop
1771
Mezzotint.
Hood Museum of Art, Dartmouth College: Purchased through the Julia L. Whittier Fund; PR.952.66.
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Valentine Green after Joseph Wright of Derby, Experiment on the Air Pump, 1769, mezzotint. Hood Museum of Art, Dartmouth College: Purchased through gifts from the Lathrop Fellows; 2008.10.
Valentine Green after Joseph Wright of Derby
Experiment on the Air Pump
1769
Mezzotint.
Hood Museum of Art, Dartmouth College: Purchased through gifts from the Lathrop Fellows; 2008.10.
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Richard Earlom after Jan van Huysum, A Flower Piece, 1778, mezzotint, etching, and stipple engraving. Hood Museum of Art, Dartmouth College: Purchased through the Florence and Lansing Porter Moore 1937 Fund; 2009.41.
Richard Earlom after Jan van Huysum
A Flower Piece
1778
Mezzotint, etching, and stipple engraving.
Hood Museum of Art, Dartmouth College: Purchased through the Florence and Lansing Porter Moore 1937 Fund; 2009.41.
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John Jones after Sir Joshua Reynolds, Mrs. Tollemache in the Character of Miranda, 1786, mezzotint. Collection of Robert Dance, Class of 1977.
John Jones after Sir Joshua Reynolds
Mrs. Tollemache in the Character of Miranda
1786
Mezzotint.
Collection of Robert Dance, Class of 1977.
Location
Temporary Exhibitions, Friends and Cheatham Galleries
About
In the century and a half before the advent of photomechanical reproductions in the mid-1800s, mezzotints were the favored medium for publicizing English paintings. Compared to traditional printmaking techniques, such as engraving and etching, the new tonal method was praised by contemporaries for its ability to represent the painterly qualities of light and shadow. Although generations of artist had used prints to heighten awareness of their designs, the establishment of regular public exhibitions in London in the second half of the eighteenth century significantly increased the demand for inexpensive and widely available editions of fashionable pictures. Many painters embraced the picturesque appearance of mezzotints, including Reynolds, Turner, and Constable.
Generously supported by the Bernard R. Siskind 1955 Fund and the Cissy Patterson Fund.
Exhibition Curator
T. Barton Thurber