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Narcissus
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Narcissus
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Artist
Richard Wilson (1713/14-1782)
Title
Narcissus
Date
c.1752 (undated)
Medium
Oil on canvas
Dimensions
48.3 x 62.9 cm [unseen]
Dimensions
19 x 24 3/4 in. [unseen]
Details
Links
Collection
Location Unknown
Accession Number
Wilson Online Reference
P40
Description
Before a woodland setting a nude male figure lies by a pool tenderly contemplating his own reflection
Before a woodland setting a nude male figure lies by a pool tenderly contemplating his own reflection
Exhibited
Provenance
Painted for <span class="underline">Ralph Howard</span>, Viscount Wicklow from 1785; Earls of Wicklow; sold with contents of Shelton Abbey, Arklow, Co. Wicklow, Ireland, Sotheby's London, 23 October 1950 (1644 - <i>Landscape with male figures</i> [sic] <i>reclining in the foreground</i>); Fr D.J. Lucey; Sotheby's, 1 Dec 1954 (142), bt Burfitt
Painted for
Ralph Howard
, Viscount Wicklow from 1785; Earls of Wicklow; sold with contents of Shelton Abbey, Arklow, Co. Wicklow, Ireland, Sotheby's London, 23 October 1950 (1644 -
Landscape with male figures
[sic]
reclining in the foreground
); Fr D.J. Lucey; Sotheby's, 1 Dec 1954 (142), bt Burfitt
Signature/inscription
Techniques and materials
Collectors' marks
Verso inscriptions
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Labels
Subject
In classical mythology, Narcissus was a hunter from Thespiae in Boeotia who was known for his beauty. On seeing his own reflection in a pool he fell in love with it, not realizing it was merely an image and, captivated, stared at it until he died.
In classical mythology, Narcissus was a hunter from Thespiae in Boeotia who was known for his beauty. On seeing his own reflection in a pool he fell in love with it, not realizing it was merely an image and, captivated, stared at it until he died.
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Critical commentary
One of Wilson's two and only nudes as such (see also P41). His main influence was Titian but the pose of the figure has been suggested as deriving from Pompeo Batoni's much-copied <i>Saint Mary Magdalene</i> (c.1740-42, destroyed). In Wilson's day this was in the Palazzo Merenda, Forli before passing to Augustus III, Elector of Saxony and King of Poland by 1754.
One of Wilson's two and only nudes as such (see also P41). His main influence was Titian but the pose of the figure has been suggested as deriving from Pompeo Batoni's much-copied
Saint Mary Magdalene
(c.1740-42, destroyed). In Wilson's day this was in the Palazzo Merenda, Forli before passing to Augustus III, Elector of Saxony and King of Poland by 1754.
Previous Cat/Ref Nos
Bibliography
Ford May 1951, p. 166, fig. 20; WGC, pl. 16a; Clark & Bowron 1985, p. 255 under cat.165; Wilson and Europe 2014, p. 58, fig. 49; E.P. Bowron, <i>Pompeo Batoni: A complete Catalogue of his Paintings</i>, 2016, vol. 1, pp. 57 & 179
Ford May 1951, p. 166, fig. 20; WGC, pl. 16a; Clark & Bowron 1985, p. 255 under cat.165; Wilson and Europe 2014, p. 58, fig. 49; E.P. Bowron,
Pompeo Batoni: A complete Catalogue of his Paintings
, 2016, vol. 1, pp. 57 & 179
Link to WG Constable Archive Record
<a href="http://calmview.co.uk/paulmelloncentre/calmview/Record.aspx?src=CalmView.Catalog&id=WGC%2f1%2f1%2f19" title="WGC/1/1/19" class="rewritten">WGC/1/1/19</a>
WGC/1/1/19
Location featured in work
More Information
Condition/Conservation
Illustrations of the Work
Updated by Compiler
30/04/2020
30/04/2020
Work of Art
Exhibitions
Biographies
Ralph Howard, Viscount Wicklow, 1726-1789
Documents
William George Constable,
Richard Wilson
Martin Postle & Robin Simon,
Richard Wilson and the Transformation of European Landscape Painting
Anthony M. Clark and Edgar Peters Bowron,
Pompeo Batoni: A Complete Catalogue of his Works with an Introductory Text
Brinsley Ford, 'Richard Wilson in Rome: I - The Wicklow Wilsons'
Part of a sketchbook
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