“Śôcesñ mr ɖn wn hundṛd wrcs bî sm v Britn’z grtst artists”
“Đ xbiśn v Grt Britiś Drw̃z cn onli scrać ɖ srfis v ɖ xtrordnri rićz v ɖ Aśmołn’z c̣lẋnz. It wl pṛvîd ɖ vizitr wɖ an unpaṛleld oṗtyṇti t xplor ɖ amezñ vrayti v drw̃ in Britn, from ɖ rapid sceć in pensl or pen, t ɖ most hîli ròt wōtrculr.” Colin Harisn, Sīńr Kretr v Yṛpiyn Art
John Sell Cotman: A Ruined House, watercolour over graphite, Ashmolean
Thomas Rowlandson: The Corsican, his two friends and his blood hounds. Pen and brown ink and watercolour over indications in graphite
Thomas Rowlandson: The Portrait Painter’s Ante-room, 1809
Joseph Mallord William Turner: Venice: The Riva degli Schiavoni, 1840
Samuel Palmer: Tintagel Castle: Approaching Rain, c. 1848‒1849
Dante Gabriel Rossetti: Louisa Ruth Herbert, 1858
Max Beerbohm: Oscar Wilde, 1894
Anna Alma-Tadema: Girl in a Bonnet with her Head on a Blue Pillow, 1902
Walter Richard Sickert: Study for ‘Ennui’: Hubby and Marie, c.1913
Lawrence Stephen Lowry: Street in Ramsbottom, 1954
Henry Percy, 9th Earl of Northumberland (c.1595), Nicholas Hilliard
Lucy, Countess of Bedford (c.1606), Isaac Oliver
Lake Nemi (c.1788) John Robert Cozens
Shakespeare Cliff, Dover (c. 1825), J. M. W. Turner
The Magic Apple Tree (c. 1830), Samuel Palmer
Venice, Storm at Sunset. Turner, Joseph Mallord William (British, 1775-1851). Watercolour and bodycolour with pen and red ink and scratching out on paper, 1840-1842.
Still life flowers in a jar (c. 1890), Paul Cézanne
Sheffield, from Derbyshire Lane, c.1797, Joseph Mallord William Turner, Collection of the Guild of St George, Sheffield Galleries & Museums Trust
Unknown artist: View of Sheffield from Sharrow Moor, 1838
Thomas Creswick: Hillsborough, Sheffield, 19th century, oil on panel, 24.2 x 19.2 cm, Museums Sheffield
Henry Rushbury: Snig Hill from Angel Street, 1941
Derrick Greaves: Sheffield, 1953, oil on canvas, 93.6 x 210.5 cm
John Hoyland: Backyards, Sheffield, 1958, oil on canvas, 36 x 28 inches (91.5 x 71 cm)
Jack Kettel: Rebuilding a Blast Furnace, 1964-5, Museums Sheffield, oil on canvas, 50.8 x 68.8
Colin Coates: Janson Street, c. 1950
Jonathan Wilkinson: Castle Market
Mandy Payne: Paradise Lost, aerosol on concrete, 21.5 x 31 cm
(Posted 5 February 2015. The text is in an older version of Ñspel.)
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“Az y mt hv gést, hir at Âr Fevrit Plêsz w’r priti cīn on Šefīld n ḅliv it t hv a ynīc n inʈrwlñ caṛctr. Bt asc smwn t picčr Šefīld n ẇt wd ɖe si? An industrı̣l wêstḷnd? Ɖ YC’z grīnist siti? Ñgḷnd’z bgst vilij? Ɖ gêtwe t ɖ Pīc District? Myziymz Šefīld’z lêtist xibišn at ɖ Mileňm Gaḷri têcs a tur ʈru Šefīld’z past n preznt t iluminet ɖ mni fasits v ɖ plês ʈru landscep āt n ŕbn ftogṛfi.
Ɖ xibišn stāts wɖ a Šefīld qt dfṛnt t ɖ ŕbn sprwl w nâ nô. Nîntīnʈ senčri pêntñz šo a fy dwelñz n črčspîrz set amñst grīn fīldz az vyd fṛm Šaro Mur (uņôn ātist, c.1838), Hilzbra (Toms Crezic, c.19ʈ senčri) n Wōdzend (Wiłm Jon Stīvnsn, 1875), ɖo Šefīld’z dstnctv šêp, nesld in ɖ valiz v ɖ Rivr Don, rmenz recgnîẓbl. Prīdêtñ ɖz z a pêntñ fṛm wn v ɖ bg nemz v ɖ xibišn, JMW Trnr’z Vy v Šefīld fṛm Dābišrlên (1797), ẇč šoz ɖ modist sitīscêp mirrñ ɖ šêp v ɖ inveḷpñ hilz abv it.
Ɖz bycolic sìnz wr v cws sn t b čôct wɖ ɖ smog v ɖ industrı̣l reṿlušn in ẇč Šefīld md its fwtyn, n ɖr r mni xamplz v bʈ industrı̣l šīc n industrı̣l blīc in ɖ xibišn. Deric Grīvz’z Šefīld šoz ɖ pīcs v ɖ srândñ hilz âtstript bî čimnīstacs ẇl a grt dfunct factri glârz ovr ɖ sìn lîc a ruind cʈīdṛl. In ɖ secnd wrldwor Šefīld’z industrı̣l prâis bcem its peṛl ẇn bomñrêdz rzultd in sìnz lîc Henri Rušbi’z Snig Hil fṛm Enjlstrīt (1941) in ẇč blits-deṿstetd strīts apir lîc roz v brôcn tīʈ. Bî contrast Jac Cetl’z Rībildñ a Blastfrnis (1964-65) wɖ its vibṛnt culrpaḷt n hraldc feznt sīmz t revl in ɖ fîr v ɖ frnis, seḷbretñ Šefīld’z crietv spāc.
Ɖr’z a bitrswīt tug v nstalja ʈrt ɖ xibišn az Victorı̣n ečñz v bytifl myṇsipl bildñz ber witṇs t sitīgôsts loñ sns dmolišt. Or fr mr rīsnt losz, ɖr’z tribyts fṛm Pīt Mci n uɖrz t Ɖ Houl in ɖ Rôd, ẇl Joṇʈn Wilcinsn’z mtikḷs lîndrōñ v Ɖ Egbox rmîndz s v a tîm ẇn tânplanñ wz bold rɖr ɖn bnal – wl Ɖ Čīzgrêtr evr b imwṭlîzd in ɖs we? Mandi Pein’z pêntñ Paṛdîs Lost berz witṇs t anɖr monymnt t ācitecčṛl xybṛns: Pāc Hil – wns a drīm v modn livñ inspîrd bî La Cwbūzie, it lêtr bcem rivn wɖ sošl probḷmz n z nâ sīcñ t riinvnt itslf az a bastı̣n v ŕbn cūl.
Amñst ɖ 90 imijz in ɖ xibišn y r šr t fînd a glimps v yr Šefīld or īvn lrn smʈñ ny abt ɖ siti y cwl hom. I, fr xampl, nvr ň ɖr wz wns a Nwf̣c Pāc Picčrpaḷs nt fîv minits wōc fṛm mî hâs. Hâ I wš ɖr wz stl a siṇma so lôcl I cd pop rnd in mî pjaṃz…
REGYḶS │ 1828, rīwrct 1837 │ Ŷl on canvs │ 895 x 1238 mm
Đ BRNÑ V Đ HÂZZ V LWDZ N COMNZ │ 1835
ÊNČNT RÔM; AGRIPĪNA LANDÑ WƉ Ɖ AŠZ V JMANIĊS │ Xibitd 1839 │ Ŷl on canvs │ 914 x 1219 mm
FIŠRMN ON Đ LGŪN, MŪNLÎT │ 1840 │ Wōtrculr on pêpr │ 192 x 280 mm
VENIS: Đ RIO DI SAN LŪCA WĐ Đ PALATSO GRIMANI N Đ ČRČ V SAN LŪCA │ 1840
PĪS – BERỊL AT SÌ │ Xibitd 1842 │ Ŷl on canvs │ 870 x 867 mm
Đ BLU RĪGI, SÚNRÎZ │ 1842 │ Wōtrculr on pêpr │ 297 x 450 mm
SNÔSTWM – STĪMBÔT OF A HĀBRMÂƮ │ Xibitd 1842
WOR. Đ XÎL N Đ ROCLIMPIT │ 1842
GOLDÂ, WĐ LÊC ZG IN Đ DISTNS: SAMPLSTUDI │ c. 1842-3 │ Penṣl, wōtrculr n pen on pêpr │ 228 x 290 mm
LÎT N CULR (GRTA’Z ƮIYRI) – Đ MWNÑ AFTR Đ DELYJ – MÔZZ RAITÑ Đ BC V JEṆSIS │ Xibitd 1843
NWṚM CASL, SUNRÍZ │ c. 1845
RTRNÑ FṚM Đ BWL (ST. MĀƮA) │ Xibitd 1846 │ Ŷl on canvs │ 616 x 924 mm
Đ RECBOI │ 1846
Đ ENJL STANDÑ IN Đ SÚN │ 1846
Đ DPĀČR V Đ FLĪT │ Xibitd 1850 │ Ŷl on canvs │ 899 x 1203 mm
Đ VIZIT T Đ TŪM │ Xibitd 1850 │ Ŷl on canvs │ 914 x 1219 mm
“Lêt Trnr – Pêntñ Set Fri z ɖ frst xibišn dvotd t ɖ xtrōdnri wrc J.M.W. Trnr crietd btwn 1835 n hiz deʈ in 1851. Brññ tgɖr spectaklr wrcs fṛm ɖ YC n abrwd, ɖs xibišn seḷbrets Trnr’z astonišñ crietv flârñ in ɖz lêtr yirz ẇn h pṛdyst mni v hiz fînist picčrz bt wz olso contṛvršl n unjustli msundrstd.
Hîlîts v ɖ xibišn includ sč impwtnt picčrz az Ênčnt Rôm; Agripīna Landñ wɖ ɖ Ašz v Jrmanic̣s n Modn Rôm – Campo Vačino, rerli riynîtd sns frst xibitd tgɖr in 1839; Ɖ Recboi 1849; n magnifisnt wōtrculrz lîc Hîdlbrg: Sunset c.1840 n ɖ sldm-sīn Bambra Casl, Nwʈumbrḷnd c.1837.
Ɖ šo olso brñz tgɖr mêjr siriz v wrcs, includñ a grūp v unyžl sqr picčrz, castñ a lît on Trnr’z iṇvtv tecnīcs. Nyli îdntifîd wōtrculrz v a fîr at ɖ Târ v Lundn in 1841 r šôn wɖ ɖ spectaklr pêntñ Brnñ v ɖ Hâzz v Lwdz n Comnz 1835 n ɖ xibišn cncludz wɖ Trnr’z last xibitd picčrz fṛm 1850, dpictñ ɖ clasicl luvrz Dîdo n Aniys. It z a paṇramic srve v a bântifl n significnt pirı̣d v xpšnl eṇji n vigr, mntend dspt fêlñ helʈ.
Bî têcñ a freš lc at Trnr’z lêt wrcs, ɖ xibišn šedz ny lît on hiz lîf n āt. Čalinjñ ɖ miʈs, asumšnz n intrpṛtešnz ɖt hv groun arnd hiz lêtr wrc, it rvilz a pêntr az dstnĝšt bî ɖ brwd scôp v hiz nolij n imajinešn az h wz bî hiz radicl n xploṛtri tecnīcs, prôsesz n ys v mtirı̣lz. Az mč az h brwt rnyd eṇji t ɖ xpḷrešn v ɖ sošl, tecṇlojicl n sȧntific dveḷpmnts v modn lîf, in sč îconz v ɖ mšinêj az Rên, Stīm, n Spīd – Ɖ Grt Westn Rêlwe 1844, h rmend az dīpli ingejd wɖ ɖ rlijs, historicl or miʈ̇lojicl ʈīmz ɖt lnct hm t ɖ culčṛl tṛdišnz v hiz ira.
Jon Ruscin’z dscripšn v Trnr az ɖ grtst v ɖ êj z brwt t lîf amñst ɖ mni lj-scêl ýlpêntñz, drōñz, prints n wōtrculrz on dsple at Lêt Trnr – Pêntñ Set Fri, an unmisbl xibišn ɖt wl rīdifîn îdiyz v wn v Britn’z grtst n bst-luvd pêntrz.
Kretd bî Sam Smîlz, Pṛfesr v Āthistri n Vižl Culčr, Xitr Ynivrṣti, wɖ Dêvid Blêni Brân, Mantn Kretr v Britiš Āt 1790–1850, Têt Britn, n Êmi Cncann, Asistnt Kretr 1790–1850, Têt Britn.”
