Lake Avernus - I (Lake Avernus with Figures in the Foreground and the…

Lake Avernus - I (Lake Avernus with Figures in the Foreground and the…
Lake Avernus - I (Lake Avernus with Figures in the Foreground and the…
Lake Avernus - I (Lake Avernus with Figures in the Foreground and the…
Photograph Courtesy of Sotheby's
title=Credit line
Artist
Richard Wilson (1713/14-1782)
Title
Lake Avernus - I (Lake Avernus with Figures in the Foreground and the Temple of Apollo beyond)
Date
c.1765
Medium
Oil on canvas
Dimensions
Metric: 40 x 52 cm
Imperial: 15 3/4 x 20 1/2 in.
Collection
Private Collection
Wilson Online Reference
P122F
Description
A view across the lake towards a large ruined building with hills and mountains beyond. In the foreground, on the left, stand some trees. In the centre, there are three figures, two men, one seated on a log and one woman, or perhaps a monk, gesticulating. To the right are an open ancient sarcophagus, woodland and a hill topped by ancient buildings. Behind the group of figures a man bends down to his boat on the lake and further out another boat is is visible.
Provenance
Sotheby's, 26 March 2004 (59)
Signature/inscription
Inscribed lower centre on the rock: R.W.
Subject
Lake Avernus lies on the Tyrrhenian coast of Italy, about a mile from Cumae, filling the crater of an extinct volcano. Mephitic vapours rise from its waters, precluding life on its banks, because of which it was believed to be the entrance to the Underworld by the Ancients. Thus in Virgil's Aeneid, Aeneas sacrifices to the gods in the shadow of the forest surrounding Lake Avernus and then follows the Cumaean Sibyl into her cave and down in to the Underworld. However, the exact location is not certain but has been identified as including the 'Temple of Apollo' and the scene is based on views in the Phlegraean Fields, rearranged with Wilsonian licence. The elements are Lake Avernus, Lake Lucrino (middle distance), the Bay of Baia (distance). The mountain is Monte Gauro.
Related Prints
E16 James Roberts after Wilson, A View in Italy, The British Museum
E16A James Roberts after Wilson, Lake Avernus (A View in Italy), National Museum Wales, Cardiff
Versions
See 'Links' tab
Critical commentary
It is notable that by the mid-1760s Wilson's style had evolved into a sophisticated tension between the ideal and the naturalistic. Thus ancient tombstones lean wearily against their supports, signifying the dialectic between idealised classicism and a decline of past glories.
Updated by Compiler
2021-12-02 00:00:00