Upcoming Exhibition
George Stubbs, A Lion Attacking a Horse, 1770. Oil on canvas. Yale University Art Gallery, Gift of the Yale University Art Gallery Associates
John Constable, Hadleigh Castle, The Mouth of the Thames—Morning after a Stormy Night, 1829. Oil on canvas. Yale Center for British Art, Paul Mellon Collection
Etienne Carjat, Victor Hugo, from La galerie contemporaine, published 1878. Woodburytype. Yale University Art Gallery, Everett V. Meeks, B.A. 1901, Fund
Joseph Mallord William Turner, Wreckers—Coast of Northumberland, with a Steam-Boat Assisting a Ship off Shore, between 1833 and 1834. Oil on canvas. Yale Center for British Art, Paul Mellon Collection
Richard Parkes Bonington, Fishmarket, ca. 1824. Oil on canvas. Yale Center for British Art, Paul Mellon Collection
Théodore Géricault, Retour de Russie (Return from Russia), 1818. Lithograph with tint stone. Yale University Art Gallery, Gift of Charles Y. Lazarus, B.A. 1936
Ary Scheffer, The Retreat of Napoleon’s Army from Russia in 1812, 1826. Oil on canvas. Yale University Art Gallery, Purchased with a gift from Richard L. Feigen, B.A. 1952, and the Leonard C. Hanna, Jr., Class of 1913, Fund
John Frederick Lewis, Study of a Lioness, ca. 1824. Watercolor and gouache over graphite on buff wove paper. Yale Center for British Art, Paul Mellon Collection

The Critique of Reason: Romantic Art, 1760–1860

Friday, March 6, 2015Sunday, July 26, 2015

The first major collaborative exhibition between the Yale University Art Gallery and the Yale Center for British Art, The Critique of Reason offers an unprecedented opportunity to display together treasured works from both museums’ collections. The show comprises paintings, sculptures, medals, watercolors, drawings, prints, and photographs by such iconic artists as William Blake, Théodore Géricault, Francisco de Goya, and Joseph Mallord William Turner. The broad range of work selected challenges the traditional notion of the Romantic artist as a brooding genius given to introversion and fantasy. Instead, the exhibition’s eight thematic sections juxtapose arresting works that reveal the Romantics as attentive explorers of their natural and cultural worlds. The Critique of Reason celebrates the richness and range of Yale’s Romantic holdings, presenting them afresh for a new generation of museumgoers.

Learn More about the Yale Center for British Art
 

Exhibition organized by Elisabeth (Lisa) Hodermarsky, the Sutphin Family Senior Associate Curator of Prints and Drawings, Yale University Art Gallery; Paola D’Agostino, the Nina and Lee Griggs Assistant Curator of European Art, Yale University Art Gallery; Cassandra Albinson, Curator of Paintings and Sculpture, Yale Center for British Art; Nina Amstutz, Postdoctoral Associate, Yale Center for British Art; and Izabel Gass, Graduate Curatorial Assistant, Yale University Art Gallery and Yale Center for British Art. Made possible by an endowment created with a challenge grant from the National Endowment for the Arts.

Selected Exhibition Objects

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