File:'View of the Province of Oparree (Pare), Island of Otaheite, with part of the Island of Eimeo (Moorea)' RMG BHC1936.tiff
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Summary
William Hodges: 'View of the Province of Oparree [Pare], Island of Otaheite, with part of the Island of Eimeo [Moorea]' | ||||||||||||||||||||||
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Artist |
artist QS:P170,Q730841 |
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Title | ||||||||||||||||||||||
Object type |
painting object_type QS:P31,Q3305213 |
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Genre | marine art | |||||||||||||||||||||
Description |
English: 'View of the Province of Oparree [Pare], Island of Otaheite, with part of the Island of Eimeo [Moorea]' Hodges' paintings of the Pacific are vivid records of British exploration. He was appointed by the Admiralty to record the places discovered on Cook's second voyage, undertaken in the 'Resolution' and 'Adventure', 1772-75. This was primarily in the form of drawings, with some oil sketches, many later converted to engravings in the official voyage account. He also completed large oil paintings for exhibition in London on his return, which exercised lasting influence on European ideas of the Pacific. The National Maritime Museum holds 26 oils relating to the voyage of which 24 were either painted for or acquired by the Admiralty. Cook's main purpose on this expedition was to locate, if possible, the much talked-of but unknown Southern Continent and further expand knowledge of the central Pacific islands, in which Hodges' records of coastal profiles were in part important for navigational reasons. This panoramic view of Tahiti’s northern shoreline and neighbouring islands is one of Hodges's most complex paintings, with an unusual composition and particularly free style. The placement of the islanders’ canoe, cut off by the bottom edge, is very unusual and adds to the sense of vastness. Hodges's emphasis upon light, air and colour combined with the absence of classicising and literary elements of the larger post-voyage paintings has led to suggestions that this was painted on the voyage, and as a pair with another same-size panel painting of ‘A View of the Monuments of Easter Island [Rapanui]' (BHC1795). If that is the case, however, they were almost certainly done late in the voyage on the way home from Cape Town and on the basis that Hodges had been able to replenish his paint stock there, since there is evidence that by the time he reached Easter Island he no longer had sufficient materials for the colourful and liquid handling of paint which is so evident in both pictures. More recent evidence suggests that they were probably painted in London in 1776-77, and that their breadth of handling and brightness is more accountable to being designed as overdoor paintings, necessarily seen at a distance. |
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Date |
circa 1776 date QS:P571,+1776-00-00T00:00:00Z/9,P1480,Q5727902 |
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Dimensions | Painting: 768 mm x 1232 mm x 11 mm; Frame: 951 mm x 1409 mm x 102 mm | |||||||||||||||||||||
Collection |
institution QS:P195,Q7374509 |
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Current location | ||||||||||||||||||||||
Accession number |
BHC1936 |
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References | Royal Museums Greenwich artwork ID: 13414 | |||||||||||||||||||||
Source/Photographer | http://collections.rmg.co.uk/collections/objects/13414 | |||||||||||||||||||||
Permission (Reusing this file) |
The original artefact or artwork has been assessed as public domain by age, and faithful reproductions of the two dimensional work are also public domain. No permission is required for reuse for any purpose. The text of this image record has been derived from the Royal Museums Greenwich catalogue and image metadata. Individual data and facts such as date, author and title are not copyrightable, but reuse of longer descriptive text from the catalogue may not be considered fair use. Reuse of the text must be attributed to the "National Maritime Museum, Greenwich, London" and a Creative Commons CC-BY-NC-SA-3.0 license may apply if not rewritten. Refer to Royal Museums Greenwich copyright. |
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Identifier InfoField | MOD number: MOD ID 351 id number: BHC1936 |
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Collection InfoField | Oil paintings |
Licensing
This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details. |
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image/tiff
69bf0f8d5cc4ad98a57052a265c70f212f04397b
16,893,140 byte
1,877 pixel
3,000 pixel
File history
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Date/Time | Thumbnail | Dimensions | User | Comment | |
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current | 09:02, 22 September 2017 | 3,000 × 1,877 (16.11 MB) | Fæ | Royal Museums Greenwich Oil paintings (1776), http://collections.rmg.co.uk/collections/objects/13414 #1213 |
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Width | 3,000 px |
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Height | 1,877 px |
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Compression scheme | Uncompressed |
Pixel composition | RGB |
Image data location | 140 |
Number of components | 3 |
Number of rows per strip | 1,877 |
Bytes per compressed strip | 16,893,000 |
Data arrangement | chunky format |