95 Items No items selected
The White Monk - IV
Royal Academy of Arts, London
Studio of Wilson
The White Monk - IV
c.1760s (undated)
Oil on canvas
64.8 x 81.3 cm
25 1/2 x 32 in.
From 1992 on long-term loan to Salomon Brothers International, London; London 2012 (unnumbered); Tercentenary 2014 (98)
Given by F.J. Nettlefold, 1948
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
See 'Links' tab
P144 The White Monk - I, Toledo Museum of Art
P144A Wilson and Studio, The White Monk - I, National Museum Wales, Cardiff
NWP144E Ascribed to Wilson, The White Monk - I, Glynn Vivian Art Gallery, Swansea
P144F The White Monk - I, Private Collection
P145 The White Monk - II, The Sarah Campbell Blaffer Foundation, Houston
P145A The White Monk - II, National Museum Wales, Cardiff
P145B The White Monk - II, Smith College Museum of Art, Northampton
P146 The White Monk - III, Private Collection
P146A The White Monk - III, Gemaldegalerie Alta Meister, Staatliche Kunstsammlungen Dresden
P146B 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. The tiny figures on the promontory are certainly not his and there is uncharacteristic sharp impasto in the rock and the waterfall. The name of his pupil, William Hodges has recently been proposed by Jonathan Yarker. Martin Postle has recently suggested a more exact setting than previously acknowledged, e.g. by W.G. Constable, who recorded that it had sometimes been identified as Tivoli or a lower part of the Aniene gorge. Postle 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.
Grundy & Roe, vol. 4, pp. 148 & 150-51, repr. col.; WGC, p. 228, pl. 122a versioin II, 7; Wilson and Europe 2014, p. 282
Dimensions framed: 66.5 x 83.9 x 20 cm (26 3/16 x 33 x 7 7/8 in.) Roman 19th century frame, composition gilded with backing of kapaboard. Conservation report 18 October 1995 gives details of a patch on the reverse, repainting a hole at the upper left (from reverse); also old fill and overpaint over a hole in the tree trunk. Light blue infilling at the right edge.