Saturday, February 1, 2020

Human and/or Divine Figures in Paint (1820-1830)

William Hilton
Phaeton
ca. 1820
oil on canvas
Manchester Art Gallery

John Jackson
Miss Chester (Eliza Jane Chester)
ca. 1820
oil on canvas
Guildhall Art Gallery, London

Théodore Gericault
Horsewoman
ca. 1820-21
oil on canvas
Metropolitan Museum of Art, New York

Andrew Geddes
Portrait of Two Women
ca. 1820-30
oil on panel
Scottish National Gallery, Edinburgh

John Constable
Académie
(posed after a figure from Michelangelo's Last Judgment fresco)
ca. 1820-30
oil on canvas
National Trust, Anglesey Abbey, Cambridge

Richard Evans
Ganymede Feeding the Eagle
ca. 1822
oil on paper, mounted on canvas
Victoria & Albert Museum, London

Horace Vernet
The Veteran at Home 
1823
oil on canvas
Wallace Collection, London

"The soldier is a grenadier of the Old Guard.  Under the restored Bourbons the financial plight of many of the soldiers who had fought in Napoleon's armies was an important political issue.  Vernet produced many scenes like this showing veterans in a kindly light."

– from curator's notes at the Wallace Collection

attributed to Ramsay Richard Reinagle
Portrait of Sir William Cornwallis Harris
ca. 1823
oil on canvas
National Portrait Gallery, London

François-Joseph Navez
Study of Mademoiselle Luisa at the Home of Portaels
1824
oil on paper, mounted on canvas
Scottish National Gallery, Edinburgh

Charles Lock Eastlake
The Champion
1824
oil on canvas
Birmingham Museum and Art Gallery

François Gérard
Portrait of Charles X, King of France
1825
oil on canvas
Wellington Collection, Apsley House, London

"In 1824 Gérard was commissioned by the government to paint a portrait of the new king, Charles X, in his coronation robes.  It was exhibited at the 1825 Salon, where it enjoyed considerable success.  . . .  Charles-Philippe (1757-1836) was a grandson of Louis XV and became Comte d'Artois at birth.  As a young prince he acquired a rather notorious reputation at the French Court, which together with his strong belief in aristocratic rights and privileges made him a particularly hated figure by revolutionists, and in 1789 his brother, Louis XVI, ordered him to leave France, from whence he eventually settled at the Palace of Holyroodhouse in Edinburgh.  From this time until his death Charles became increasingly devout in his Catholic faith and traditional in his views.  The French monarchy was restored in 1814, and in 1824 on the death of his brother, Louis XVIII, Charles became king, aged 67.  From his coronation onwards Charles' attempts to reverse the ideals of the revolution made him deeply unpopular, and in July 1830 public revolts forced him to abdicate and flee to Britain."  

– from curator's notes at the Wellington Collection

John Linnell
Portrait of Miss Jane Puxley
1826
oil on canvas
Yale Center for British Art

Pieter Christoffel Wonder
Study for Patrons and Lovers of Art
ca. 1826-30
oil on canvas
National Portrait Gallery, London

"This is a preliminary study for Wonder's painting of an imaginary gallery hung with pictures from famous British collections.  The portraits depict the main art collectors of the period.  The composition celebrates the role of individual benefactors in the much celebrated foundation of the National Gallery (1824).  On the left, kneeling in front of Titian's Bacchus and Ariadne, is George Watson Taylor (1771-1841), a collector of Italian Renaissance paintings.  On the right, top hat in hand, is Sir John Murray (ca. 1768-1827) who commissioned Wonder's painting.  Next to him, leaning forward, is the Reverend William Holwell-Carr (1758-1830), a benefactor of the newly formed National Gallery.  Behind them, holding his palette, is the artist himself."

– from curator's notes at the National Gallery

Richard Parkes Bonington
Amy Robsart and the Earl of Leicester
ca. 1827
oil on canvas
Ashmolean Museum, Oxford

Ary Scheffer
Portrait of Charlotte Rothschild, Baroness Anselm de Rothschild
ca. 1827-28
oil on canvas
National Trust, Waddesdon Manor, Buckinghamshire