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Leeds museums and galleries highlights25/10/2016

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ObjectID	Object Number	Sort Number	Mnemonic	Classification	Culture	Period	Display Name	Alpha Sort	Object Name	Title Sort	Date	Begin Date	Medium/Materials	Dimensions	Description	Credit Line	WebDescription
190098	LEEAG.0550.PL	LEEAG 550PL	Fine Art	Paintings, Prints and Drawings	Not set	Not set	Philip Redford	Redford, Philip	print	The Jump I	1979	0	aquatint	Image (Jump I): 172 x 138mm Paper (Jump I): 575 x 375mm Image (Jump IV): 145 x 192mm Mount (Jump I): 630 x 480mm Paper (Jump IV): 575 x 375mm Mount (Jump IV): 630 x 480mm	(The Jump I): Aquatint and xx print in black ink of a headless nude in stages of a jump. Arms are in towards the body. (The Jump IV): Aquatint and xx print in black ink of a headless nude in stages of a jump with arms outstretched.	Not set	A retired Senior Lecturer from Leeds Metropolitan University, artist Phil Redford now solely practices as a painter, printmaker and book maker. Born in 1943, he studied at Brighton Art College from 1960 to 1966 and worked as a printmaking tutor at Leeds Art College/Metropolitan University from 1967 to 1996. Since 2001 he has been exploring and experimenting with household paint in conjunction with conventional acrylics on canvas, board and paper.
41502	LEEAG.1858.0133	LEEAG 1858 133	Fine Art	Paintings, Prints and Drawings	British	Late 18th century	Gainsborough Dupont	Dupont, Gainsborough	painting	Portrait of the Rt Hon William Pitt	c 1792	1782	oil on canvas	object height (support): 762mm object width (support): 635mm	This is a head and shoulders portrait of William Pitt. He wears a black jacket with large buttons over a white shirt.	Donated by J. G. Uppleby, 1858.	William Pitt the Younger (1759-1806) followed his father as the greatest statesman of his generation. He became Chancellor of the Exchequer at the age of 23 and Prime Minister at 24. He was responsible for a period of political stability following the turbulent years of the American War of Independence, and presided over the early military and naval successes following the outbreak of war against France in 1792. Despite his many qualities he seems to have been indifferent to the visual arts or literature. When he sat for Thomas Gainsborough in 1787 for a portrait for the Duke of Buckingham the artist was struck by Pitt's 'hauteur and disrespectful manner'.
41504	LEEAG.1858.0249	LEEAG 1858 249	Fine Art	Paintings, Prints and Drawings	Not set	18th century	Giovanni Paolo Panini	Panini, Giovanni Paolo	painting	Roman Ruins with the Blind Belisarius	1730	1730	Oil on canvas	object height (support): 1321mm object width (support): 1423mm	Landscape of ruins with several figures in foreground and background. The ruins in the background has four statues positioned on it. In the bottom right hand corner there is a dog stood near a stone slab.	Given by J.G. Uppleby, 1858	Ruin pictures or 'capricci' of Rome, incorporating views of well-known or imaginary monuments of Antiquity, were bought avidly by Grand Tourists in the 18th century. G.P. Pannini had a particularly successful studio specialising in such scenes, often contriving to re-arrange the ruins.
41535	LEEAG.1891.0001	LEEAG 1891 1	Fine Art	Paintings, Prints and Drawings	Not set	Not set	Lord Frederic Leighton	Leighton, Frederic Lord	painting	The Return of Persephone	1891	1891	oil on canvas	object height (support): 2030mm object width (support): 1524mm frame: 2460 × 2040 × 155mm	study for the painting at Leighton House and the BM Subject: classical	Given by Sir James Kitson,1891	In ancient Greek myth, Persephone, abducted by Hades, is doomed to live half the year in the Underworld. Leighton depicts the moment when, with the onset of spring, she can temporarily rejoin her mother Demeter, the goddess of grain and fertility, on earth. Leighton was sometimes criticised for the emotional distance he seemed to maintain from his subjects. Here he intensifies the dramatic moment by inviting the viewer to adopt a low viewpoint as Persephone emerges from the depths, aided by Hermes.