By Dwight P. Lanmon, David Whitehouse
One of the beautiful items of glass in Robert Lehman's assortment are many who show the consummate ability of Venetian glassmakers and clarify why Venetian glass was once so coveted in Europe within the 16th and 17th centuries. The factories in northern Europe that produced glass a l. a. façon de Venise are represented besides. Robert Lehman additionally bought maybe the richest American number of eighteenth-century lampworked glass collectible figurines, that are often attributed to Nevers, France. Smaller teams of reverse-painted panels and historical Roman and early Islamic glass around out the 136 items catalogued during this quantity.
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Extra info for The Robert Lehman Collection, Vol. 11: Glass
But later that same year Turner had the opportunity to study mountains that greatly dwarfed those of Scotland. In March 1802 a peace was concluded between Britain and France, after some nine years of war. This allowed tens of thousands of Britons to venture abroad for the very first time. Although Turner had already seen mountains in Wales and Scotland, he knew that if he wanted to perceive truly majestic heights in Europe, then he would have to visit the Swiss Alps. Accordingly, that was where he made for in the summer of 1802, exploring some of the western cantons and the northern reaches of the Val d’Aosta before making his way to Schaffhausen and Basel.
And the artist’s adherence to the Theory of Poetic Painting is further proven by the method he employed to develop Hannibal and his Army crossing the Alps, for he synthesised the image exactly in the manner that Reynolds had recommended, in this case by marrying the Yorkshire storm to a Swiss alpine vista seen in 1802. Turner equally made a helpful verbal debut with Hannibal and his Army crossing the Alps. Although the painter had been appending lines of verse to the titles of his pictures in the exhibition catalogues since 1798, and some of them were probably of his own devising, in 1812 and for the very first time he added lines that were openly by himself.
William Turner had served for many years as his son’s factotum, stretching his canvases and varnishing them when completed, which led Turner to joke that his father both started and finished his pictures for him. That the artist did feel nearer “the brink of eternity” after his father’s death is made clear by the fact that he drew up the first draft of his will less than ten days after the paternal demise. The deaths of Fawkes and Turner’s father were joined by other sad losses around this time, most notably those of Henry Fuseli in 1825 and of Sir Thomas Lawrence PRA early in 1830.