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The White Monk - IV (Italian Landscape, with white Monk)
Museums Sheffield
Ascribed to Wilson
The White Monk - IV (Italian Landscape, with white Monk)
Oil on canvas
66.8 x 82.3 cm
26 1/4 x 32 3/8 in.
VIS.358
P147A
London 1925 (27 - Italian Landscape: The White Monk; Manchester 1925 (65 - Italian Landscape - The White Monk); Brussels 1929 (198)
Frederick Anthony White; Christie's 28 April 1934 (155); bt J.G. Graves; given to Sheffield Museums, 1942
Signed on the rock left foreground: RW
D344 Richard Wilson (1713/14-1782), Banks of the Tiber 1757 Rhode Island Museum of Art, School of Design, Providence
E17 James Roberts after Wilson, The White Monk (Untitled), The British Museum
E17A James Roberts after Wilson, The White Monk (Untitled), National Museum Wales
P144 Richard Wilson (1713/14-1782), The White Monk - I, Toledo Museum of Art
P144A Richard Wilson (1713/14-1782) and Studio, The White Monk - I, National Museum Wales, Cardiff
NWP144E Ascribed to Wilson, The White Monk - I, Glynn Vivian Art Gallery, Swansea
P144F Richard Wilson (1713/14-1782), The White Monk - I, Private Collection
P145 Richard Wilson (1713/14-1782), The White Monk - II, The Sarah Campbell Blaffer Foundation, Houston
P145A Richard Wilson (1713/14-1782), The White Monk - II, National Museum Wales, Cardiff
P145B Richard Wilson (1713/14-1782), The White Monk - II, Smith College Museum of Art, Northampton
P146 Richard Wilson (1713/14-1782), The White Monk - III, Private Collection
P146A Richard Wilson (1713/14-1782), The White Monk - III, Gemaldegalerie Alta Meister, Staatliche Kunstsammlungen Dresden
P146B Richard Wilson (1713/14-1782), The White Monk - III, Montreal Museum of Fine Arts
P147 and P147A differ from other versions of The White Monk in having no seated figures or parasol in the right foreground. The present work is very close in composition to the P144 Toledo Museum of Art version. However, the style is not that of Wilson himself. Martin Postle has recently suggested a more exact setting than previously acknowledged , e.g. by Constable, who recorded that it had sometimes been identified as Tivoli or a lower part of the Aniene gorge. He proposed the upper Aniene valley, looking east towards the Prenestini mountains and the rocky outcrops of Mentorella and Guadagnolo. This is an area associated historically with a chain of Benedictine monasteries, thus providing context for the presence of monks on the promontory.
WGC, p. 228; The Studio, January 1952