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Visual Arts

Sheffield has a rich and varied collection of over 5,000 paintings, watercolours, prints, drawings, photographs and sculpture that portray the development of British and European art from the 17th century to the present day.   The Modern British Collection is one of the most important in the country outside of the Tate Gallery. It includes works by many of Britain’s most significant 20th century artists including Gwen John, Sir Stanley Spencer, David Bomberg, Henry Moore, Frank Auerbach and John Hoyland. Paintings by artists such as Cezanne and Bonnard are included in the European 20th Century collection. Other key artists, including Dali, Miro, Picasso, Schiele, Toulouse-Lautrec and Vuillard, are represented by works on paper. The development of painting in the 18th and 19th centuries is illustrated through the works of a number of significant artists. These include Thomas Gainsborough, JMW Turner, Tissot and the Pre-Raphaelite artists Burne-Jones, Rossetti and Millais. Significant works by English, Spanish, Dutch and Italian 16th century painters are the oldest in the city’s collection. These Old Masters include Jan Mytens, Morales, Ribera, Murillo, Proccaccini and Pittoni. A stunning selection of some of the oldest paintings in the city's collections was on display at Graves Gallery from 14 January -1 April 2006 in:   Visions of The Low Countries: A Golden Age of Dutch and Flemish Art This exhibition brings together a selection of Dutch and Flemish paintings from the 16th and 17th centuries. Focusing on landscapes, seascapes and scenes of daily life Visions of the Low Countries highlights some of the treasures of Sheffield's art collection. The Low Countries underwent great upheaval during the 16th century and split into two nations; the Provinces of the United Netherlands and Flanders. The divide resulted in differing social values and artistic tastes, however, some artists from across the Low Countries continued to share common techniques and subject matter. The 17th century saw an expansion of trade which brought wealth and prosperity, particularly to the United Provinces of the Netherlands. The art market flourished and people from all walks of life bought paintings to hang in their houses. Although only relatively few of these pictures still survive, this period has become famous for the production of beautifully painted works of art. The paintings in this exhibition have all been researched as part of the National Inventory Research Project, using a Pilgrim Trust Grant. The National Inventory Research Project is a collaboration between Birkbeck College, London, The University of Glasgow and The National Gallery. It is funded by grants from the Getty Grant Program, the Arts and Humanities Research Board, the Kress Foundation and is also being supported by Pilgrim Trust Grants and the Neil MacGregor Scholarship scheme.     A Scene in a Flemish Village Oil on copper - Gillis Peeters (1612 - 1653) and David Teniers II (1610 - 1690) This painting shows a pastoral scene in Flanders painted collaboratively by Gillis Peeters and David Teniers II. It is likely that each artist would have focused on their individual strengths, with Peeters painting the landscape and Teniers portraying the figures. A Scene in a Flemish Village shows everyday life within the context of an idyllic landscape, depicted with a low horizon and luminous skies. Teniers adds his own humour to the scene with elements such as the figure urinating against a fence. Collaboration between artists was not uncommon during this period, however, this is the only known example of Teniers and Peeters working together. Winter Landscape with Buildings and Figures 1691 Oil on canvas - Thomas Heeremans (around 1640 - 1697) Thomas Heeremans specialised in winter scenes that often depicted figures skating. The cold climate of the Netherlands and its many waterways provided inspiration for his work. In this painting Heeremans combines a landscape scene with careful observation of everyday life, showing people both at work and at play. The town depicted on the left of this painting is, however, thought to be imaginary. These winter scenes were very popular in the Low Countries during the 17th century. Heeremans was a Dutch artist who was active in Haarlam between 1660 and 1695.     The Watermill Oil on panel - After Meindert Hobbema (1638 - 1709) This painting is not currently on display. Meindert Hobbema painted this watermill from various different angles throughout his career. For many years this was thought to be an original work by the artist but more recent research has suggested that it is actually a copy. This painting appears to be very similar to a work by Hobbema which is in the Musée Royale des Beaux-Arts in Brussels. It may have been painted when the original work was in England in the late 18th or early 19th century. The Watermill has been faithfully reproduced although there are some variations. The colours for example seem more intense than Hobbemas usual subdued tones. A Stag Hunt Oil on panel - Philips Wouwermans (1619 - 1668) Philips Wouwermans is known to have painted a large number of hunting scenes throughout his career. This example shows a stag on the left hand side of the canvas frantically trying to escape, pursued by a hunter on horseback. The hunters are dressed in fashionable clothing which underlines the fact that hunting on horseback was a privilege reserved for the aristocracy. The beautifully painted horses, in particular the white horse, are a trademark of Wouwermans work. Born into a family of painters, Wouwermans was baptised in Haarlem in 1619. After moving to Hamburg in around 1638, he returned to Haarlem in 1640 and entered the painter's guild.     Landscape with Ruined Castle 1667 Oil on canvas - Attributed to Jan Gabrielsz Sonje (around 1625 - 1707) In this painting Jan Gabrielsz Sonje uses the river to draw the eye into the distance past a ruined castle. The dramatic landscape contrasts with the simple and rustic depictions of the countryside by artists such as Jan van Goyen and shows the influence of Italian art on Dutch painters. This work is signed A Pynacker but has now been attributed to Sonje due to the style of the painting, in particular the figures. It is likely that Sonje was one of Pynackers many pupils. Sonje was born in Delft in the United Provinces of the Netherlands and worked in Rotterdam and Dordrecht. Landscape with Cottages on the Dunes 1633 Oil on panel - Jan van Goyen (1596 - 1656) In this painting Jan van Goyen closely observes the world around him and creates a detailed depiction of the Dutch coastal landscape. He has clearly studied the changing weather conditions and the low horizon gives ample space for an atmospheric sky. The composition is dominated by a large tree and the landscape seems to engulf the figures within it. It appears that van Goyen is contrasting industrious work, personified by the figures seen working in the background, and relaxation, embodied by those seated in the foreground. Jan van Goyen studied in Haarlem and moved to The Hague in the early 1630s.     Frozen River Scene Oil on canvas - Aert van der Neer (1603 - 1677) Aert van der Neer is best known for his winter and moonlight scenes. This landscape is typical of his work, depicting a frozen river with rolling clouds in the wide expanse of sky above. This imaginary view conveys a sense of the Dutch countryside, rather than an accurate representation. The figures, however, appear animated and closely observed; skating on the ice, playing games and gossiping. Van der Neer worked in Amsterdam from 1630 onwards. He ran into financial difficulties towards the end of his life and opened a tavern in 1659, but was made bankrupt three years later. Shuttlecock Oil on panel - School of David Teniers II (1610 - 1690) This painting shows a group of peasants playing a game of shuttlecock in a Flemish village. This game appears to be an early version of golf and is related to the sport of colf which is depicted in many Netherlandish winter landscapes. Everyday life was a very popular subject matter for Flemish artists and Teniers himself painted many such scenes. This particular work is likely to have been painted by a follower of Teniers or even by one of his pupils. There are two other works by David Teniers II in this exhibition, The Yard of an Inn and A Scene in a Flemish Village.     Seascape Oil on panel - School of Willem van de Velde II (1633 - 1707) Until the late 17th century the Netherlands controlled most of the European cargo trade and dominated the seas. Paintings of seascapes were a way of promoting and celebrating this success and were very popular during this period. It is not known whether this painting is by Willem van de Velde II. Comparisons with other works suggest that he usually included more human activity in his paintings, such as people launching their boats. This work does however have his characteristic low horizon and wide expanse of sky and was therefore probably painted by a Dutch contemporary of van de Velde. The Yard of an Inn Oil on canvas - David Teniers II (1610 - 1690) David Teniers II is known for his scenes of peasant life. In this painting he shows revellers socialising outside an inn in the Flemish countryside. The figures are depicted with warmth; talking, drinking and playing bowls together. Teniers even includes a drunken man in the background being escorted away from the merriment. These lively scenes are predominantly painted in muted colours of brown and green, but Teniers also uses splashes of vivid colour, such as the red of the jackets and hats. Teniers was born and worked in Antwerp, the son of the painter David Teniers I. He married Anna, the daughter of the artist Jan Breughel I in 1637.     Winter Landscape with Buildings and Figures Oil on panel - Attributed to Joos de Momper II (1564 - 1635) Depictions of winter scenes were common in the Low Countries during the early 17th century as they reflected the cold climate of the period. In this painting the landscape is peopled with figures going about their daily lives; carrying reeds, skating and playing in the snow. The simplicity and graphic quality of this work shows the influence of the Flemish painter Pieter Bruegel I, who also painted winter scenes. De Momper was born in Antwerp in 1564. He was initially apprenticed to his father and when Antwerp fell to the Spanish he moved to the United Provinces of the Netherlands. MASTERPIECES: FRESH PERSPECTIVES ON SHEFFIELDS ART COLLECTION 26 May 2005 - to 14 January 2006 The Masterpieces exhibition brought together some of the most significant paintings from Museums Sheffield's collection. Ranging from the sixteenth to the nineteenth centuries Masterpieces highlighted key works and placed them within the context of three themes: Portraits, Landscapes and Signs & Symbols. Sheffields collection developed from major gifts given by John Newton Mappin, his nephew Sir Frederick Thorpe Mappin and Dr John George Graves. These generous benefactors were also instrumental in creating the buildings in which the works were housed. The Graves and Mappin gifts included paintings such as The Hours by Sir Edward Burne-Jones and The Spirit of Chivalry by Daniel Maclise, both of which can be seen in the selection below. Thanks to purchases and gifts over the past seventy-five years this core collection has continued to expand.     The Convalescent (circa 1876) oil on canvas - James Jacques Joseph Tissot (1836 -1902) This painting is not currently on display. James Tissot painted a large number of works depicting moments from everyday life. This painting shows a young woman convalescing in a garden. She is accompanied by an elderly companion whilst the empty seat, with a cane and hat, hints at the presence of a man nearby. The garden is dappled in autumnal sunlight which reflects the states of the women, in the autumn of their lives. The model is believed to be Kathleen Newton who later died of consumption. PORTRAITS In Western art portrait painting became established in the sixteenth century and throughout the following years it became increasingly popular. Before the invention of photography, portraits were the only way to record a persons likeness. They can act as a window into the past showing us how people looked, and reflecting the fashions of the day. A portrait can reveal a great deal about how the sitter wanted to be perceived in terms of their learning, wealth, virtue or importance. In addition to this, portraits also reflect artistic trends and idealised concepts of beauty. Sir Peter Lely who painted Margaret Brooke, Lady Denham tended to conform to a standard ideal of beauty. Many of his portraits therefore look extremely similar and dont truly reflect the individuality of the sitter. This exhibition includes portraits from over a three hundred year period. The earliest painting is of Diane de Poitiers, this very flat image emphasises rich details such as her jewellery. This work contrasts with the group portrait of the Vickers sisters, which uses strong light and shadow combined with free brush strokes to create a dramatic effect. These paintings highlight the development from formal portraits with an emphasis on status, to the more leisurely conversation pieces that became common in the eighteenth and nineteenth centuries.     Portrait of a Man aged 29 (1584) oil on panel - Pieter Jansz Pourbus (1523 - 1584) The sitter in this formal portrait is unknown. The coat of arms and inscription were revealed during conservation work. It is likely however, that both of these elements were added after the portrait was painted in around 1584. The painting, in particular features such as the large ruff, would have indicated wealth and shown the status of the sitter and his family. Diane de Poitiers, Madame Valentinois (after 1547) oil on panel - School of Francois Clouet (c.1510 - 72) This painting is not currently on display. This portrait depicts Diane de Poitiers, Madame de Valentinois (1499 -1566). She was the mistress of King Henri II of France for over twenty years. Diane was a trusted advisor to the King and influenced his decisions, which greatly annoyed his wife, Catherine de Medici. After Henri II died in 1559, the Queen demanded that Diane retire from court and return the crown jewels that Henri had given her. Diane spent her last days at her chateau in Anet where she died in 1566.     Portrait of Lady Coventry (circa 1630s) oil on canvas - Cornelis Johnson (1593 - 1661) This painting depicts Elizabeth, Lady Coventry. She was married to Thomas 1st Baron of Coventry, a distinguished lawyer and Member of Parliament. During the reign of Charles I he became Lord Keeper of the Great Seal and was instrumental in enforcing the King's royal proclamations. Elizabeth's dress, which is covered in expensive lace, reflects the Coventrys wealth and status. Cornelius Johnson also painted a companion piece showing Baron Coventry which is owned by the National Portrait Gallery in London. Margaret Brooke, Lady Denham (circa 1664) oil on canvas - Peter Lely (1618 -1680) Margaret Brooke, Lady Denham (1647 - 67) married the poet John Denham in 1665. Soon after their marriage, she became the mistress of James, Duke of York, later King James II. The affair between Margaret and the Duke of York was so humiliating for John Denham that for a short period he was driven to madness. Around this time Margaret died, aged just 20. The cause of her death is not known but contemporaries suspected poison.     Lady Mary Wortley Montagu (circa 1718) oil on canvas - Jonathan Richardson (Senior) (1665 - 1745) This painting depicts Lady Mary Wortley Montagu in Turkish dress stood in front of a view of Constantinople. A great traveller and writer, she spent several years living in Turkey where her husband was British Ambassador. Lady Mary was a victim of smallpox and had her son vaccinated against the disease in Turkey. When she returned to England in 1718 she encouraged the practice of smallpox inoculation. She continued to travel throughout her life and after leaving her husband in 1739 she settled in Italy. Portrait of William H Clabburn (1870) oil on canvas - Frederick Sandys (1829 - 1904) This painting is not currently on display. This portrait depicts William Houghton Clabburn, a Victorian industrialist from Norwich. He was one of Frederick Sandys friends and most generous patrons, owning twenty-three paintings and commissioning ten portraits. Here Clabburn looks extremely serious, although the background scene of plants, sea and sky lighten the mood of the painting. Sandys originally planned to use a piece of green velvet as the backdrop, but when it arrived he didnt like the colour. Instead he included this vibrant landscape.     The Misses Vickers (1884) oil on canvas - John Singer Sargent (1856 - 1925) This group portrait was painted to mark the twenty-first birthday of Mabel Frances Vickers (centre). She is shown here with her sisters Florence (on the left) and Clara (on the right). The contrasting expressions and poses of the three sisters give the painting an atmosphere of tension. This is amplified by Sargents use of perspective, which projects the figures forward out of the dimly lit room they occupy. This portrait was painted at the Vickers family home in Bolsover Hill, Sheffield. LANDSCAPES Until the seventeenth century scenes of nature were usually confined to the backdrops of portraits or the settings for history paintings, depicting religious or mythological subjects. In the paintings of Claude Lorraine (1604/5-1682) and Nicolas Poussin (1594-1665) the landscape gradually came to dominate historical subjects. They created scenes that were very formal, constructing settings that attempted to evoke images of classical Rome or Greece. In his early work JMW Turner was strongly influenced by these landscapes and The Festival upon the Opening of the Vintage of Macon, although painted well over a hundred years later, reflects this formal style. A growth in travel and the search to find the ideal picturesque view resulted in an explosion of landscape painting in the eighteenth and nineteenth centuries. Artists like William Marlow toured Europe and recorded classical monuments such as the Pont du Gard in Nîmes, France. In the Victorian Age, as industrialisation progressed, painters increasingly sought inspiration from the natural world. Art critic and writer John Ruskin urged artists to 'go to nature', believing that the landscape could only be understood by studying it closely. John Brett, and his contemporaries who formed the Pre-Raphaelite Brotherhood, were committed to observing and recording the details of nature outdoors, using colour and light to create vivid landscape paintings.     Winter Landscape (1691) oil on canvas - Thomas Heeremans (1640 - 1697) This painting is not currently on display. Thomas Heeremans specialised in winter scenes that often depicted figures skating. The large number of waterways and the cold climate of Holland provided inspiration for his work. The town depicted on the left is however thought to be imaginary. In this painting Heeremans combines a landscape scene with careful observation of everyday life, showing people both at work and play. These winter scenes were very popular in seventeenth century Holland. Le Pont du Gard, Nimes (late 1700s) oil on canvas - William Marlow (1740 - 1813) The bridge Le Pont du Gard is part of a Roman aqueduct that was used to supply water to Nîmes, in the South of France. William Marlow travelled through France and Italy between 1765 and 1768. He made a large number of drawings which provided the subjects for many of the paintings he later completed in London. In this painting it has been claimed that the figure on the right hand riverbank is a self-portrait of Marlow himself.     Landscape with Dale Abbey (circa 1785) oil on canvas - Joseph Wright of Derby (1734 - 1797) This painting is not currently on display. This painting depicts a ruined abbey in the village of Dale, Derbyshire. Joseph Wright of Derby painted many portraits and history paintings, but towards the end of his career increasingly preferred to record the landscape. Wright constructed the scene around Dale Abbey, adding in the cliffs on the right to frame the view and draw the viewer's eye through the painting. He may also have added the pond in the foreground. The Festival of the Opening of the Vintage at Macon (circa 1803) oil on canvas - Joseph Mallord William Turner (1775 - 1851) JMW Turner travelled through Macon in Burgundy during the grape harvest in 1802. This impressive painting supposedly depicts the festival which accompanied the harvest, but is in fact a view of the Thames from Richmond Hill. In this work Turner echoed the style of the French 17th century artist Claude Lorraine by framing the view with trees and leading the eye through to a distant horizon. Turner challenged the idea that the landscape of Britain was not a worthy subject for high art.     Mount Etna from Taormina (1870) oil on canvas - John Brett (1831 - 1902) This scene shows the volcano Mount Etna in Sicily, which was painted during an expedition to observe a solar eclipse. John Brett was fascinated by nature, in particular geology, and stayed to observe Etna's eruptions long after the rest of the party had returned home. His direct study of nature shows the influence of the Pre-Raphaelite movement. Although not a member of the Brotherhood, Brett adopted many of their techniques to create paintings that combined luminous colours with close observation. SIGNS & SYMBOLS Throughout the history of art, signs and symbols have been used to tell stories, represent ideas and to identify particular characters. These symbols come from many different sources with religious, literary or mythological references. Symbols are often used to represent abstract ideas such as time or honour. In George Frederic Watts painting Time, Death and Judgement, he uses figures to illustrate these three concepts. Each person can be identified by the objects that they hold, for example Judgement is clasping the sword of vengeance. Symbols are also used in order to recognise mythical characters or to depict people when there is no evidence of what they looked liked. In Bartolomé Esteban Murillos painting The Christ Child Resting on the Cross objects such as the skull and cross are used to foretell the tragic outcome of Christs life. Here Murillo adds greater significance by placing the hand of Christ across the skull, which is a sign of piety. Signs and symbols can also be used to tell stories. In The Lady of Shallot William Maw Egley uses elements from the poem to help illustrate the narrative, such as the mirror showing the knight Lancelot. The loom can also been seen as a symbol of domesticity reflecting the role of women in Victorian society.     The Infant Christ Asleep on the Cross (1670s) oil on canvas - Bartolome Esteban Murillo (1617 - 1682) This painting depicts the child Christ asleep on the cross with a skull lying beside him. Both these symbols directly refer to his forthcoming sacrifice and are intended to emphasise the notion that Christ was born in order to die for the world. The two angels hovering above him invite the viewer to contemplate Christ's Passion. This was a very popular subject for Spanish paintings during the second half of the seventeenth century. This work was probably produced for private devotion. Christ Carrying the Cross (mid 1500s) oil on panel - School of Luis de Morales (c.1509 - 1586) The image of the head of Christ crowned with thorns is frequently repeated in Louis de Morales' work. There is a great deal of detail in this painting especially in the face of Christ and the knotted wood of the cross. The simplicity of this work reflects the piety of the age. There is no background detail, added narrative or incidental details to distract attention from Christ's struggle and the sorrow on his face.     Cain and Abel (1733) oil on canvas - Antonio Balestra (1666 - 1740) This painting is not currently on display. In this painting Antonio Balestra depicts the story of the brothers Cain and Abel, an episode from the Bible. Cain murdered Abel in a fit of anger after God rejected his offering in favour of his brother's. Here the body of Abel can be seen lying dead on the ground whilst his soul is transported to heaven on a cloud. Balestra portrays Cain on the left fleeing the scene with the weapon in his hand. The Hours (1882) oil on canvas - Edward Coley Burne-Jones (1833 - 1898) The Hours illustrates the same female figure in five different poses to represent the passing of time. Morning is symbolised by this character waking and brushing her hair whilst in the evening she is shown sleeping. A member of the second generation of Pre-Raphaelites, Sir Edward Coley Burne-Jones has used colour and light to create harmony throughout the work. He wrote "Every little lady … wears a lining of the colour of the hour before her and a sleeve of the hour coming after."     The Lady of Shalott (1858) oil on canvas - William Maw Egley (1826 - 1916) This painting illustrates Lord Alfred Tennyson's poem The Lady of Shallot, which is based on the legend of King Arthur. The story tells of a cursed woman trapped in a tower and only allowed to watch the world through reflections in a mirror. This work captures the moment when the knight Lancelot appears. The Lady of Shallot looks out of the window and is then condemned to die. The scene reflects the Victorian love of romance and tragedy, themes that were often played out within idealised medieval settings. The Spirit of Chivalry (circa 1845) oil on canvas - Daniel Maclise (1806 - 1870) This painting is not currently on display. Daniel Maclise was one of six artists invited to submit designs to decorate the newly built Houses of Parliament. The Spirit of Chivalry is a study for one of these designs which were on the themes of Religion, Chivalry and Justice. The idea of chivalry has its origins in medieval history. The Victorians romanticised this era associating it with the legends of King Arthur. Maclise represents the Spirit of Chivalry with an idealised figure of a queen or Madonna, flanked by figures personifying military, religious and civil powers.     Time, Death and Judgement (circa 1895) oil on canvas - George Frederick Watts (1817 - 1904) During his career, George Frederic Watts produced a series of allegorical paintings that aimed to record the symbolic history of mankind. In this painting Watts personifies Time, Death and Judgement. They can be identified by the objects they hold, for example Time is depicted bearing a scythe. The character of Time is usually associated with old age, here however he is shown as a youthful man. The monumental draped figures in this painting show the influence that Greek sculpture had on Watts' art.