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The painting’s extraordinary luminosity and brightness of color dazzled the critics, one claiming it was “one of the most magnificent pictures ever exhibited.” John Constable was probably referring to this picture when, many years later, he remembered it as “the most complete work of genius I ever saw.”   Gallery label for installation of YCBA collection, 2022","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/3e5acb27-91e9-40b0-b2d2-e453563fb2d9","type":"Type","_label":"Gallery Label","equivalent":[{"id":"http://vocab.getty.edu/aat/300048722","type":"Type","_label":"Gallery Label"}]}],"identified_by":[{"type":"Name","content":"Gallery Label","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/5088ec29-065b-4c66-b49e-e61d3c8f3717","type":"Type","_label":"Display Title","equivalent":[{"id":"http://vocab.getty.edu/aat/300404669","type":"Type","_label":"Display Title"}]}]}],"_content_html":"<span class=\"lux_data\">J. M.W. Turner made his second Continental tour in 1817 in the aftermath of the Napoleonic Wars and passed through Dordrecht on his way home. This view, one of Turner’s masterpieces, was painted after his return to London in December 1817 and was exhibited at the Royal Academy in April 1818. The Swan, a packet boat from Rotterdam, is traveling down the river Meuse towards Dordrecht and is being provisioned by passing boats while it is becalmed. A vision of peaceful serenity, the picture contrasted with Turner’s other exhibit that year, a view of the bloody battlefield of Waterloo by moonlight. In Dort, Turner was emulating the celebrated Dutch painter Aelbert Cuyp (1620–1691), whose work was avidly collected by British connoisseurs. The painting’s extraordinary luminosity and brightness of color dazzled the critics, one claiming it was “one of the most magnificent pictures ever exhibited.” John Constable was probably referring to this picture when, many years later, he remembered it as “the most complete work of genius I ever saw.” </br></br>  Gallery label for installation of YCBA collection, 2022</span>"},{"type":"LinguisticObject","content":"J. M. W. Turner made his second Continental tour in 1817 in the aftermath of the Napoleonic Wars and passed through Dordrecht on his way home. This view, one of Turner’s masterpieces, was painted after his return to London in December 1817 and was exhibited at the Royal Academy in April 1818. The Swan, a packet boat from Rotterdam, is traveling down the river Meuse towards Dordrecht and is being provisioned by passing boats while it is becalmed. A vision of peaceful serenity, the picture contrasted with Turner’s other exhibit that year, a view of the bloody battlefield of Waterloo by moonlight. In Dort, Turner was emulating the celebrated Dutch painter Aelbert Cuyp (1620–1691), whose work was avidly collected by British connoisseurs. The painting’s extraordinary luminosity and brightness of color dazzled the critics, one claiming it was “one of the most magnificent pictures ever exhibited.” John Constable was probably referring to this picture when, many years later, he remembered it as “the most complete work of genius I ever saw.” Dort was bought immediately by Turner’s friend and patron Walter Fawkes and hung in his drawing room at Farnley Hall, his country house in North Yorkshire.   Gallery label for installation of YCBA collection, 2016","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/3e5acb27-91e9-40b0-b2d2-e453563fb2d9","type":"Type","_label":"Gallery Label","equivalent":[{"id":"http://vocab.getty.edu/aat/300048722","type":"Type","_label":"Gallery Label"}]}],"identified_by":[{"type":"Name","content":"Gallery Label","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/5088ec29-065b-4c66-b49e-e61d3c8f3717","type":"Type","_label":"Display Title","equivalent":[{"id":"http://vocab.getty.edu/aat/300404669","type":"Type","_label":"Display Title"}]}]}],"_content_html":"<span class=\"lux_data\">J. M. W. Turner made his second Continental tour in 1817 in the aftermath of the Napoleonic Wars and passed through Dordrecht on his way home. This view, one of Turner’s masterpieces, was painted after his return to London in December 1817 and was exhibited at the Royal Academy in April 1818. The Swan, a packet boat from Rotterdam, is traveling down the river Meuse towards Dordrecht and is being provisioned by passing boats while it is becalmed. A vision of peaceful serenity, the picture contrasted with Turner’s other exhibit that year, a view of the bloody battlefield of Waterloo by moonlight. In Dort, Turner was emulating the celebrated Dutch painter Aelbert Cuyp (1620–1691), whose work was avidly collected by British connoisseurs. The painting’s extraordinary luminosity and brightness of color dazzled the critics, one claiming it was “one of the most magnificent pictures ever exhibited.” John Constable was probably referring to this picture when, many years later, he remembered it as “the most complete work of genius I ever saw.” Dort was bought immediately by Turner’s friend and patron Walter Fawkes and hung in his drawing room at Farnley Hall, his country house in North Yorkshire. </br></br>  Gallery label for installation of YCBA collection, 2016</span>"},{"type":"LinguisticObject","content":"In 1817, two years after the end of the Napoleonic wars, Joseph Mallord William Turner traveled to Continental Europe. In Dordrecht, a port city in Holland, Turner began plans for a composition of boats becalmed, creating a number of sketches in a leather-bound notebook similar in size to one also on view in this exhibition. The present painting, completed the following year as the result of his studies, was exhibited at the Royal Academy in London alongside a painting of the aftermath of the Battle of Waterloo. In contrast to that scene of destruction, Turner shows in Dort—both through the subject matter of the many well-cared-for boats, the well-fed passengers, and the calm waters of the Merwede River, and in the glowing, even light depicted in the painting—that peace was as central to the flowering of artistic creation in the Romantic period as the wars that shook the Continent.  Gallery label for the Critique of Reason: Romantic Art (Yale Center for British Art, 2015-03-06 - 2015-07-26) ","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/3e5acb27-91e9-40b0-b2d2-e453563fb2d9","type":"Type","_label":"Gallery Label","equivalent":[{"id":"http://vocab.getty.edu/aat/300048722","type":"Type","_label":"Gallery Label"}]}],"identified_by":[{"type":"Name","content":"Gallery Label","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/5088ec29-065b-4c66-b49e-e61d3c8f3717","type":"Type","_label":"Display Title","equivalent":[{"id":"http://vocab.getty.edu/aat/300404669","type":"Type","_label":"Display Title"}]}]}],"_content_html":"<span class=\"lux_data\">In 1817, two years after the end of the Napoleonic wars, Joseph Mallord William Turner traveled to Continental Europe. In Dordrecht, a port city in Holland, Turner began plans for a composition of boats becalmed, creating a number of sketches in a leather-bound notebook similar in size to one also on view in this exhibition. The present painting, completed the following year as the result of his studies, was exhibited at the Royal Academy in London alongside a painting of the aftermath of the Battle of Waterloo. In contrast to that scene of destruction, Turner shows in Dort—both through the subject matter of the many well-cared-for boats, the well-fed passengers, and the calm waters of the Merwede River, and in the glowing, even light depicted in the painting—that peace was as central to the flowering of artistic creation in the Romantic period as the wars that shook the Continent.</br></br>  Gallery label for the Critique of Reason: Romantic Art (Yale Center for British Art, 2015-03-06 - 2015-07-26) </br></br></span>"},{"type":"LinguisticObject","content":"In summer 1817, Turner visited Dordrecht (sometimes known as Dort) on a tour of the Netherlands. He spent a day and a half there and made many pencil sketches, some of which were the basis for this grand view of the city from the north. The river is the Noord, and the becalmed packet or market-boat is The Swan, which sailed regularly between Dordrecht and Rotterdam. While awaiting a change in the wind or tide, the passengers are buying food and drink from enterprising local people in rowboats. Ever matching himself against other landscapists, Turner imitates the style of the seventeenth-century Dutch master Aelbert Cuyp, a native of Dordrecht, particularly in the high contrast of dark elements against luminous sky and water. Dort belonged to one of Turner's best patrons, Walter Fawkes of Farnley Hall in Yorkshire, and hung there in the dining room until 1966, when it was purchased by Paul Mellon. Gallery label for installation of YCBA collection, 2009","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/3e5acb27-91e9-40b0-b2d2-e453563fb2d9","type":"Type","_label":"Gallery Label","equivalent":[{"id":"http://vocab.getty.edu/aat/300048722","type":"Type","_label":"Gallery Label"}]}],"identified_by":[{"type":"Name","content":"Gallery Label","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/5088ec29-065b-4c66-b49e-e61d3c8f3717","type":"Type","_label":"Display Title","equivalent":[{"id":"http://vocab.getty.edu/aat/300404669","type":"Type","_label":"Display Title"}]}]}],"_content_html":"<span class=\"lux_data\">In summer 1817, Turner visited Dordrecht (sometimes known as Dort) on a tour of the Netherlands. He spent a day and a half there and made many pencil sketches, some of which were the basis for this grand view of the city from the north. The river is the Noord, and the becalmed packet or market-boat is The Swan, which sailed regularly between Dordrecht and Rotterdam. While awaiting a change in the wind or tide, the passengers are buying food and drink from enterprising local people in rowboats. Ever matching himself against other landscapists, Turner imitates the style of the seventeenth-century Dutch master Aelbert Cuyp, a native of Dordrecht, particularly in the high contrast of dark elements against luminous sky and water. Dort belonged to one of Turner's best patrons, Walter Fawkes of Farnley Hall in Yorkshire, and hung there in the dining room until 1966, when it was purchased by Paul Mellon.</br></br> Gallery label for installation of YCBA collection, 2009</span>"},{"type":"LinguisticObject","content":"In summer 1817, Turner visited Dordrecht (sometimes known as Dort) on a tour of the Netherlands. He spent a day and a half there and made many pencil sketches, some of which were the basis for this grand view of the city from the north. The river is the Noord, and the becalmed packet or market-boat is The Swan, which sailed regularly between Dordrecht and Rotterdam. While awaiting a change in the wind or tide, the passengers are buying food and drink from enterprising local people in rowboats. Ever matching himself against other landscapists, Turner imitates the style of the seventeenth-century Dutch master Aelbert Cuyp, a native of Dordrecht, particularly in the high contrast of dark elements against luminous sky and water. Dort belonged to one of Turner's best patrons, Walter Fawkes of Farnley Hall in Yorkshire, and hung there in the dining room until 1966, when it was purchased by Paul Mellon. Gallery label for Paul Mellon's Legacy: A Passion for British Art (Yale Center for British Art, 2007-04-18 - 2007-07-29)","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/3e5acb27-91e9-40b0-b2d2-e453563fb2d9","type":"Type","_label":"Gallery Label","equivalent":[{"id":"http://vocab.getty.edu/aat/300048722","type":"Type","_label":"Gallery Label"}]}],"identified_by":[{"type":"Name","content":"Gallery Label","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/5088ec29-065b-4c66-b49e-e61d3c8f3717","type":"Type","_label":"Display Title","equivalent":[{"id":"http://vocab.getty.edu/aat/300404669","type":"Type","_label":"Display Title"}]}]}],"_content_html":"<span class=\"lux_data\">In summer 1817, Turner visited Dordrecht (sometimes known as Dort) on a tour of the Netherlands. He spent a day and a half there and made many pencil sketches, some of which were the basis for this grand view of the city from the north. The river is the Noord, and the becalmed packet or market-boat is The Swan, which sailed regularly between Dordrecht and Rotterdam. While awaiting a change in the wind or tide, the passengers are buying food and drink from enterprising local people in rowboats. Ever matching himself against other landscapists, Turner imitates the style of the seventeenth-century Dutch master Aelbert Cuyp, a native of Dordrecht, particularly in the high contrast of dark elements against luminous sky and water. Dort belonged to one of Turner's best patrons, Walter Fawkes of Farnley Hall in Yorkshire, and hung there in the dining room until 1966, when it was purchased by Paul Mellon.</br></br> Gallery label for Paul Mellon's Legacy: A Passion for British Art (Yale Center for British Art, 2007-04-18 - 2007-07-29)</span>"},{"type":"LinguisticObject","content":"In 1817, in the aftermath of the Napoleonic Wars, Turner visited the Netherlands for the first time. He spent just a day and a half in Dordrecht (known locally as Dort), making numerous pencil sketches, and exhibited this luminous view of the city from the north at the Royal Academy in 1818. Turner, who often indulged in playful rivalry with his fellow artists, may have been stimulated by Augustus Wall Callcott’s homage to the Dutch Old Masters, “The Pool of London” (Bowood Settlement, Wiltshire), exhibited to acclaim at the Royal Academy in 1816. Described by the “Morning Chronicle” in May 1818 as “one of the most magnificent pictures ever exhibited,” Dort was immediately acquired by Turner's patron Walter Fawkes. The price was five hundred guineas, a huge sum, though as James Hamilton has recently noted, it is likely that Turner was never paid, since Fawkes was in chronic debt, and Turner had himself lent him three thousand pounds (Hamilton, 2001). The painting hung in the Drawing Room at Farnley Hall until 1966, when it was purchased by Paul Mellon.Although Turner did not visit the Netherlands until he was over forty, he was familiar with important Dutch Old Master paintings in British collections from early in his career, and his first Royal Academy submission, Fishermen at Sea (Tate, London), testifies to his admiration for Rembrandt. Dort pays tribute to one of Turner’s most formative Dutch influences, Aelbert Cuyp; the motif of the packet boat is directly borrowed from Cuyp’s Maas at Dordrecht (National Gallery of Art, Washington, D.C.), which was exhibited at the British Institution in 1815. Dort is as much a personal artistic statement as an homage to an Old Master, however; its contrast of cool and warm colors and bright chromatic scale (a contemporary viewer told the diarist Joseph Farington that “it almost puts your eyes out” [Farington, “Diary”, vol. 15, p. 5191]) mark the emergence of Turner the colorist and anticipate the brilliance of his work of the 1820s.Gillian ForresterJohn Baskett, Paul Mellon's legacy, a passion for British art: masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, pp. 30,33,284-85, no. 90, N5220 M552 P38 2007 OVERSIZE (YCBA)","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/c8a65354-832d-4188-b742-87fe88d782dc","type":"Type","_label":"Published Catalog Entry","equivalent":[{"id":"http://vocab.getty.edu/aat/300111999","type":"Type","_label":"Published Catalog Entry"}],"classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/b079998d-bb47-470a-ad7d-d938bd091f8a","type":"Type","_label":"Brief Text","equivalent":[{"id":"http://vocab.getty.edu/aat/300418049","type":"Type","_label":"Brief Text"}]}]}],"identified_by":[{"type":"Name","content":"Published Catalog Entries","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/5088ec29-065b-4c66-b49e-e61d3c8f3717","type":"Type","_label":"Display Title","equivalent":[{"id":"http://vocab.getty.edu/aat/300404669","type":"Type","_label":"Display Title"}]}]}],"_content_html":"<span class=\"lux_data\">In 1817, in the aftermath of the Napoleonic Wars, Turner visited the Netherlands for the first time. He spent just a day and a half in Dordrecht (known locally as Dort), making numerous pencil sketches, and exhibited this luminous view of the city from the north at the Royal Academy in 1818. Turner, who often indulged in playful rivalry with his fellow artists, may have been stimulated by Augustus Wall Callcott’s homage to the Dutch Old Masters, “The Pool of London” (Bowood Settlement, Wiltshire), exhibited to acclaim at the Royal Academy in 1816. Described by the “Morning Chronicle” in May 1818 as “one of the most magnificent pictures ever exhibited,” Dort was immediately acquired by Turner's patron Walter Fawkes. The price was five hundred guineas, a huge sum, though as James Hamilton has recently noted, it is likely that Turner was never paid, since Fawkes was in chronic debt, and Turner had himself lent him three thousand pounds (Hamilton, 2001). The painting hung in the Drawing Room at Farnley Hall until 1966, when it was purchased by Paul Mellon.</br></br>Although Turner did not visit the Netherlands until he was over forty, he was familiar with important Dutch Old Master paintings in British collections from early in his career, and his first Royal Academy submission, Fishermen at Sea (Tate, London), testifies to his admiration for Rembrandt. Dort pays tribute to one of Turner’s most formative Dutch influences, Aelbert Cuyp; the motif of the packet boat is directly borrowed from Cuyp’s Maas at Dordrecht (National Gallery of Art, Washington, D.C.), which was exhibited at the British Institution in 1815. Dort is as much a personal artistic statement as an homage to an Old Master, however; its contrast of cool and warm colors and bright chromatic scale (a contemporary viewer told the diarist Joseph Farington that “it almost puts your eyes out” [Farington, “Diary”, vol. 15, p. 5191]) mark the emergence of Turner the colorist and anticipate the brilliance of his work of the 1820s.</br></br>Gillian Forrester</br></br>John Baskett, Paul Mellon's legacy, a passion for British art: masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, pp. 30,33,284-85, no. 90, N5220 M552 P38 2007 OVERSIZE (YCBA)</span>"},{"type":"LinguisticObject","content":"Created by Joseph Mallord William Turner (1775–1851), the artist; purchased by Walter Ramsden Hawkesworth Fawkes (1769–1825), Farnley Hall, 1818 [1]; by descent to his son, Francis Hawksworth Fawkes (1797–1871); by descent to his brother, Reverend Ayscough Fawkes (1805–1871); by descent to his son, Ayscough Fawkes (1831–1899); by descent to his brother, Reverend Frederick Fawkes (1833–1900); by descent to his son, Frederick Hawkesworth Fawkes (1870–1936); by descent to his brother, Reverend Walker Hawkesworth Fawkes (1872–1943); by descent to his nephew, Major Le Gendre George William Horton-Fawkes (1892–1982); [sale, Christie’s, London, July 2, 1937, lot 61 (unsold)]; purchased by Thomas Agnew & Sons, Ltd., for Paul Mellon (1907–1999), 1966 [a]; by whom given to the Yale Center for British Art, 1977.       Notes:     [1] Walter Ramsden Hawkesworth Fawkes, a Yorkshire politician and landowner, inherited Farnley Hall in 1792, at which point he also took the surname Fawkes. He was a close friend and prominent patron of the artist.     Citation:   [a] Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 226-227  ","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/dd8b8c75-3f4b-4071-a231-161ae556e572","type":"Type","_label":"Provenance Statement","equivalent":[{"id":"http://vocab.getty.edu/aat/300435438","type":"Type","_label":"Provenance Statement"}],"classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/b079998d-bb47-470a-ad7d-d938bd091f8a","type":"Type","_label":"Brief Text","equivalent":[{"id":"http://vocab.getty.edu/aat/300418049","type":"Type","_label":"Brief Text"}]}]}],"_content_html":"<span class=\"lux_data\">Created by Joseph Mallord William Turner (1775–1851), the artist; purchased by Walter Ramsden Hawkesworth Fawkes (1769–1825), Farnley Hall, 1818 [1]; by descent to his son, Francis Hawksworth Fawkes (1797–1871); by descent to his brother, Reverend Ayscough Fawkes (1805–1871); by descent to his son, Ayscough Fawkes (1831–1899); by descent to his brother, Reverend Frederick Fawkes (1833–1900); by descent to his son, Frederick Hawkesworth Fawkes (1870–1936); by descent to his brother, Reverend Walker Hawkesworth Fawkes (1872–1943); by descent to his nephew, Major Le Gendre George William Horton-Fawkes (1892–1982); [sale, Christie’s, London, July 2, 1937, lot 61 (unsold)]; purchased by Thomas Agnew & Sons, Ltd., for Paul Mellon (1907–1999), 1966 [a]; by whom given to the Yale Center for British Art, 1977.    </br> </br></br></br></br>  Notes:  </br> </br></br></br></br>  [1] Walter Ramsden Hawkesworth Fawkes, a Yorkshire politician and landowner, inherited Farnley Hall in 1792, at which point he also took the surname Fawkes. He was a close friend and prominent patron of the artist.  </br> </br></br>  Citation: </br></br></br></br>  [a] Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 226-227 </br> </span>"},{"type":"LinguisticObject","content":"Not on view","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/03f4eb19-0611-4f31-8e09-fc111c52f898","type":"Type","_label":"Access Statement","equivalent":[{"id":"http://vocab.getty.edu/aat/300133046","type":"Type","_label":"Access Statement"}],"classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/b079998d-bb47-470a-ad7d-d938bd091f8a","type":"Type","_label":"Brief Text","equivalent":[{"id":"http://vocab.getty.edu/aat/300418049","type":"Type","_label":"Brief Text"}]}]}]},{"type":"LinguisticObject","content":"Plan Your Visit to the Yale Center for British Art","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/d97f2e4a-1549-4c4b-9a27-bcf41a2b4972","type":"Type","_label":"Visitors' Statement","equivalent":[{"id":"http://vocab.getty.edu/aat/300025883","type":"Type","_label":"Visitors' Statement"}],"classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/b079998d-bb47-470a-ad7d-d938bd091f8a","type":"Type","_label":"Brief Text","equivalent":[{"id":"http://vocab.getty.edu/aat/300418049","type":"Type","_label":"Brief Text"}]}]}],"_content_html":"<a target='_blank' href='https://britishart.yale.edu/hours-and-visitor-guidelines'>Plan Your Visit to the Yale Center for British Art</a>"},{"type":"LinguisticObject","content":"[Yale University Press Advertisement ] Dort or Dordrecht : The Dort Packed-boat from Rotterdam Becalmed, ,  Art Journal (CAA), vol. 37, Autumn 1977, p. 81, N81 A887 + OVERSIZE (HAAS)  Available online in JSTOR","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/20486850-2e62-4af8-8d61-58fb399ab467","type":"Type","_label":"Citation","equivalent":[{"id":"http://vocab.getty.edu/aat/300311705","type":"Type","_label":"Citation"}],"classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/b079998d-bb47-470a-ad7d-d938bd091f8a","type":"Type","_label":"Brief Text","equivalent":[{"id":"http://vocab.getty.edu/aat/300418049","type":"Type","_label":"Brief Text"}]}]}],"identified_by":[{"type":"Name","content":"Selected Bibliography","classified_as":[{"id":"https://lux.collections.yale.edu/data/concept/5088ec29-065b-4c66-b49e-e61d3c8f3717","type":"Type","_label":"Display Title","equivalent":[{"id":"http://vocab.getty.edu/aat/300404669","type":"Type","_label":"Display Title"}]}]}]},{"type":"LinguisticObject","content":"Sir Geoffrey Agnew, Yale's 1700 Mellon Pictures,  The Times (London), , April 28, 1977, p. 9, Times Digital Archive  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