The Visual Arts: Artists Drawing after Statues of The Three Graces and Antinoüs
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One of a set of twelve allegorical painted panels in the style of classical red figure vase painting, depicting The Visual Arts: Artists drawing after statues of The Three Graces and Antinoüs. Two men, one carrying a tablet and one with a beard stand on the left. The one with the beard points to a sculpture of the Three Graces on the right. In the centre, two young men sit on a stool and a block and rest their feet on footstools. The draw on tablets whilst looking at the sculpture. To the right, there is a tall candlestick with a flame. On the right, the Three Graces sculpture is on a low plinth. The goddesses appear front on, back and side. The middle one has her arms down holding the other two goddesses' hands. On the far right, there is a bust of Antinoüs on a patterned plinth.
Twelve panels painted in the style of red figure Greek vases were probably made to decorate a library around the turn of the nineteenth century (acc. nos 20.2011.1-12). This panel depicts two young men drawing sculptures. The panels once belonged to Sir Sydney Barratt, an important chemist in World War II, who helped in the development of the bouncing bomb.
The Three Graces or Charites were goddesses of beauty and charm. They were depicted nude in ancient times, including in a wall painting at Pompeii, and were a popular subject with Renaissance and later artists. The pose they adopt in the Waddesdon panel differs from usual representations of the central goddess with her arms lifted. The bust on the right appears to be of the beautiful youth beloved of the Emperor Hadrian (76-138 CE). The scultpures present the art students with models of both male and female ideal beauty.
The designs are painted in black on a red background, with pentimenti evident in several areas. They are similar in appearance to the illustrations in the volume 'Collection of Etruscan, Greek, and Roman antiquities: from the cabinet of the Hon. Wm. Hamilton', first published in 1767. The artist was probably inspired by this publication. The scenes depicted in the Waddesdon panels do not however appear in the book and appear to have been devised by the artist. Hamilton's purchase of the vases, now in the British Museum, was arranged by the French scholar Baron d'Hancarville. He wrote the introduction to the book. The panels may have been painted in Italy. Sydney Barratt collected the sort of works of art that appealed to 18th-century British aristocrats who visited Italy as part of the Grand Tour.
Around 1800, artists based in Naples and Rome such as Johann Heinrich Wilhelm Tischbein (1751-1829) used the illustrations of Hamilton's vases as inspiration for devising decorations of small rooms and cabinets. The twelve panels at Waddesdon depict a mixture of subjects found in a library, such as geography, astronomy, music, philosophy and art. Several also show men, women and children listening or taking notes, depicting the activity of learning.
Phillippa Plock, 2012
Dimensions (mm) / weight (mg)
788 x 1842
Signature & date
not signed or dated
Provenance
- Owned by Sir Sydney Barratt (b.1898, d.1975); by descent to his son John Barratt (d.2009); sold, Christie's, London, 16 December 2010, as part of The Barratt Collection Sale - from Crowe Hall, Bath, lot 92; then to a Rothschild Family Trust.
Collection
- Waddesdon (Rothschild Foundation)
- On loan since 2011
Bibliography
- Christie, Manson & Woods Ltd.; The Barratt Collection from Crowe Hall, Bath. 16 December 2010.; 2010; London; lot 92
Subject person
- Antinous, Pictured
Person as Subject
Subjects
- Figures/Female
- Figures/Group
- Figures/Male
- Objects/Furnishings/Chair or Sofa
- Objects/Furnishings/Stool
- Objects/Reading, Writing & Printed Matter/Stone Tablet
- Objects/Visual Arts/Drawing
- Objects/Visual Arts/Sculpture
- Mythology/Gods & Goddesses/Graces
- Portraits/Male
- Objects/Visual Arts/Artists' Tools
- Work & Occupations/Arts & Entertainment/Draughtsman