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Diana and Actaeon (Landscape with Figures bathing in a Pool)
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P63 - Diana and Actaeon (Landscape with Figures bathing in a Pool)
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Diana and Actaeon (Landscape with Figures bathing in a Pool)
Credit Line
Private Collection / Photograph by Matthew Hollow
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Artist
Richard Wilson (1713/14-1782)
Title
Diana and Actaeon (Landscape with Figures bathing in a Pool)
Date
c.1753-54 (undated)
Medium
Oil on canvas
Dimensions
97.7 x 132.2 cm
Dimensions
38 7/16 x 52 1/16 in.
Details
Links
Collection
Private Collection, England
Accession Number
KT1404
Wilson Online Reference
P63
Description
Diana and the nymphs are seen in the centre foreground and on the left is Actaeon in the form of a stag, head back with antlers to the right, pursued by his hounds. A relief of Leda and the Swan is on the architectural fragment, lower left. A small female figure, perhaps Callisto attempting to hide, is clinging to the branch in the water to the right. Diana wears the crescent moon on her head to symbolise her role as moon-goddess. In the distance are classical ruins and in the middle ground a block-like cliff or ruin, with a shadow of trees falling upon it.
Diana and the nymphs are seen in the centre foreground and on the left is Actaeon in the form of a stag, head back with antlers to the right, pursued by his hounds. A relief of Leda and the Swan is on the architectural fragment, lower left. A small female figure, perhaps Callisto attempting to hide, is clinging to the branch in the water to the right. Diana wears the crescent moon on her head to symbolise her role as moon-goddess. In the distance are classical ruins and in the middle ground a block-like cliff or ruin, with a shadow of trees falling upon it.
Exhibited
Provenance
Probably sold by the artist with P64 to <span class="underline">John Rolle-Walter</span>, who visited Rome n 1753; thence by descent; Lord Clinton, Bicton, Devon; Sotheby's 19 July 1950 (143 - <i>Landscape with Figures bathing in a Pool</i>); bt Leggatt; Lord Wharton, Halswell Park, Bridgewater; Private Collection, England
Probably sold by the artist with P64 to
John Rolle-Walter
, who visited Rome n 1753; thence by descent; Lord Clinton, Bicton, Devon; Sotheby's 19 July 1950 (143 -
Landscape with Figures bathing in a Pool
); bt Leggatt; Lord Wharton, Halswell Park, Bridgewater; Private Collection, England
Signature/inscription
Signed on rock centre left foreground in letters simulating relief: RW
Signed on rock centre left foreground in letters simulating relief: RW
Techniques and materials
Pentimenti to the immediate left of Diana indicate perhaps another nymph, since erased. The trees are differentiated in type and colour in the manner of Claude and the sky is streaked at the upper left, both of which characteristics may be seen in other major paintings of this period by Wilson.
Pentimenti to the immediate left of Diana indicate perhaps another nymph, since erased. The trees are differentiated in type and colour in the manner of Claude and the sky is streaked at the upper left, both of which characteristics may be seen in other major paintings of this period by Wilson.
Collectors' marks
Verso inscriptions
Mount inscriptions
Labels
[1] Modern Williams and Hill printed label on vertical right member of frame, verso [2] Small possible cut-out label in centre of upper horizontal member of stretcher - illegible
[1] Modern Williams and Hill printed label on vertical right member of frame, verso
[2] Small possible cut-out label in centre of upper horizontal member of stretcher - illegible
Subject
The subject is from Ovid's <i>Metamorphoses</i>, Book 3, lines 192-252. Diana was bathing with three of her maidens when she noticed the hunter Actaeon spying on them from behind the trees. Outraged, the goddess of chastity and hunting turned him into a stag and his own hounds tore him to pieces.
The subject is from Ovid's
Metamorphoses
, Book 3, lines 192-252. Diana was bathing with three of her maidens when she noticed the hunter Actaeon spying on them from behind the trees. Outraged, the goddess of chastity and hunting turned him into a stag and his own hounds tore him to pieces.
Related Subjects
Related Drawings
Related Prints
Versions
See 'Links' tab
See 'Links' tab
Related Paintings
Pendant P64 <i>Rome and the Ponte Molle</i>, National Museum Wales, Cardiff P87<span class="italic">Ariccia - II</span>, Collection of the Earl of Pembroke, Wilton House, Wiltshire P87A <span class="italic">Fallen Tree at Ariccia</span>, Collection of the Earl of Pembroke, Wilton House, Wiltshire
Pendant P64
Rome and the Ponte Molle
, National Museum Wales, Cardiff
P87
Ariccia - II
, Collection of the Earl of Pembroke, Wilton House, Wiltshire
P87A
Fallen Tree at Ariccia
, Collection of the Earl of Pembroke, Wilton House, Wiltshire
Related Works by Other Artists
Critical commentary
This painting is stylistically close to P64 <span class="italic">Rome and the Ponte Molle</span> (National Museum Wales), to which it approximates in size, and is traditionally regarded as its pendant. Constable argues, however, that a <span class="italic">Diana and Callisto</span> would be a more likely subject.
This painting is stylistically close to P64
Rome and the Ponte Molle
(National Museum Wales), to which it approximates in size, and is traditionally regarded as its pendant. Constable argues, however, that a
Diana and Callisto
would be a more likely subject.
Previous Cat/Ref Nos
Bibliography
Ford 1952, p. 312, fig. 7; WGC, pp. 159-60, pl.17a; Solkin 1982, p. 189
Ford 1952, p. 312, fig. 7; WGC, pp. 159-60, pl.17a; Solkin 1982, p. 189
Link to WG Constable Archive Record
<a href="http://www.calmview.co.uk/paulmelloncentre/calmview/Record.aspx?src=CalmView.Catalog&id=WGC%2f1%2f1%2f20" title="WGC/1/1/20" class="rewritten">WGC/1/1/20</a>
WGC/1/1/20
Location featured in work
More Information
The fallen tree trunk at the right in this painting, although on a different scale, is similar to the one shown in P87 <span class="italic">Ariccia - II</span> and P87A <i>Fallen Tree at Ariccia</i>
The fallen tree trunk at the right in this painting, although on a different scale, is similar to the one shown in P87
Ariccia - II
and P87A
Fallen Tree at Ariccia
Condition/Conservation
Relined. Very good condition overall. Kate Lowry has noted: Simple weave linen canvas glue relined onto similar weight linen. Original turnovers were probably removed at time of lining. Five-member pine stretcher probably dates from early 20th century and the time of the relining. Ground is fully covered by paint throughout, but possibly a pale tone as no obvious warm or dark colour visible in mature cracks in sky. Some evidence of a warm brown underpaint layer in the foreground. No reserve left for the trees against the sky. The leaves are rendered with fine feathery strokes over the sky paint at the edges of the foliage masses. Foreground is quite dark with light forms of figures, rocks and clothing showing up dramatically against this. Right hand foliage area is very dark and it is difficult to distinguish much detail here. Sky is characterised by long diagonal streamers of cloud in the upper part. Viewed under UV light the painting appears to be in excellent condition with only minor retouches in the foreground to cover drying cracks.
Relined. Very good condition overall. Kate Lowry has noted:
Simple weave linen canvas glue relined onto similar weight linen. Original turnovers were probably removed at time of lining. Five-member pine stretcher probably dates from early 20th century and the time of the relining. Ground is fully covered by paint throughout, but possibly a pale tone as no obvious warm or dark colour visible in mature cracks in sky. Some evidence of a warm brown underpaint layer in the foreground. No reserve left for the trees against the sky. The leaves are rendered with fine feathery strokes over the sky paint at the edges of the foliage masses.
Foreground is quite dark with light forms of figures, rocks and clothing showing up dramatically against this. Right hand foliage area is very dark and it is difficult to distinguish much detail here. Sky is characterised by long diagonal streamers of cloud in the upper part. Viewed under UV light the painting appears to be in excellent condition with only minor retouches in the foreground to cover drying cracks.
Illustrations of the Work
Updated by Compiler
Work of Art
Versions
Richard Wilson (1713/14-1782)
Classical Landscape with Diana and Actaeon
, Collection of the Bermuda National Gallery and the Government of Bermuda
Paintings
Richard Wilson (1713/14-1782),
Rome and the Ponte Molle
, National Museum Wales, Cardiff
Richard Wilson (1713/14-1782),
Ariccia II
, Collection of the Earl of Pembroke, Wilton House, Wiltshire
Richard Wilson (1713/14-1782),
Fallen Tree at Ariccia
, Collection of the Earl of Pembroke, Wilton House, Wiltshire
Exhibitions
Biographies
John Rolle-Walter, 1712-1779
Documents
William George Constable,
Richard Wilson
David Solkin,
Richard Wilson: The Landscape of Reaction
Brinsley Ford, 'Richard Wilson in Rome: II - The Claudean Landscapes'
Joseph Spence (1699-1768), Letter from Rome
Part of a sketchbook
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