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Week of October 8, 2012

Benjamin West’s paintings celebrate an empire

How is it that an American painter came to define the British Empire?

When Benjamin West’s painting “The Death of General Wolfe” was first shown at the Royal Academy in 1771 it was received with acclaim. It became one of the most famous paintings in 18th-century Britain, serving for generations as the consummate projection of its military, moral, and cultural supremacy and a celebration of Empire.

“The Death of General Wolfe,” by Benjamin West. Photo courtesy of Clements Library.

The exhibit “Benjamin West: General Wolfe and the Art of Empire,” is presented through Jan. 13 at the U-M Museum of Art’s A. Alfred Taubman Gallery I. Through 40 works from Michigan, Canadian and British collections, this thematically focused exhibition considers how artists contributed to Great Britain’s emergence as the dominant colonial power in Europe in the later 18th century — from West’s pivotal portrayal, to the painting’s popularization in a wide variety of media, to the cartographers on the ground in Canada whose maps helped ensure Canada’s future as a British colony.

Depicting the heroic death of James Wolfe, the British commander at the 1759 Battle of Québec during what is known in this country as the French and Indian War (1754-63), West’s canvas presented a momentous contemporary event in a large-scale history painting, but with the figures in modern rather than classical dress. In so doing, West flouted the conventions of the genre put forth by academic painters such as Sir Joshua Reynolds, the famed director of the Royal Academy.

Though his was not the earliest representation of the death of Wolfe nor the first history painting to violate the norms of pictorial depiction by showing him in uniform, West’s interpretation of the event became iconic, crystallizing for a patriotic public the moment when Britain assumed the mantle of empire. The artist went on to produce five additional full-scale versions of the painting, one of which belongs to the William L. Clements Library. The composition also was disseminated widely in the form of reproductive engravings that earned both the painter and the engraver a small fortune.

In addition to West’s monumental vision of British conquest, the exhibition includes previous depictions of James Wolfe and his death on the battlefield and explores the commodification of Wolfe in popular culture. Among the many historically important and visually compelling works included in the exhibition are portions of the Murray Atlas of Canada from the Clements Library, a set of highly detailed maps executed in 1761-63 by military surveyors under the direction of general and military governor James Murray. The Murray Atlas (known in only five extant examples) includes plans drawn by, among others, Samuel Holland and John Montresor, the latter a British artist and military engineer who fought alongside Wolfe.

An illustrated catalogue published by the museum as part of the new UMMA Books series accompanies the exhibition. Support for the exhibit is provided by the Joseph F. McCrindle Foundation, the U-M Health System, the Office of the Provost, Office of the Vice President for Research, the Richard and Rosann Noel Endowment Fund, and The Mosaic Foundation of R. & P. Heydon.



Liz Glynn, children’s program coordinator for Matthaei Botanical Gardens and Nichols Arboretum, on her job: “Our programs tie their field experience with us to what they’re doing in the classroom.”


“I know you’re there, but who am I?” exhibit, noon-7 p.m. Tuesday through Saturday through Oct. 19 at Work•Ann Arbor, 306 S. State St.

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