Alma Tadema
Alma Tadema
History and Story (what’s going on) of Alma-Tadema’s The Sculptor’s Model?
I am writing an art history paper about Lawrence Alma-Tadema and mainly about his painting “The Sculptor’s Model”. I have found only little information about the painting….and lots about Alma-Tadema himself…..but nothing about the information that the painting is describing, what’s going on in the painting and what not…..the story about the painting and its subjects. I really need some help. I have checked out a book at my local college library but still nothing in detail about this painting in particular. Does anybody know of any answers for me, or a place I could go to to ask somebody who is an art historian maybe?
Thank you
Haley Meyer
…The Esquiline Venus is a smaller-than-life-size Roman nude marble sculpture of a female in a sandal and headdress.
It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture.
The sculpture inspired many artistic reconstructions in the decade after its discovery. Chief among these are Sir Lawrence Alma-Tadema’s A Sculptor’s Model (1877) and Edward Poynter’s Diadumene (1884). These both portrayed the statue’s model binding her hair with a strip of fabric (as with the statue type diadumenos) in preparation for modelling for the sculptor or for taking a bath respectively…
http://en.wikipedia.org/wiki/Esquiline_Venus
…The painting represents one of only four major nude subjects painted by Alma-Tadema. He painted it as an instructive piece for John Collier, son of Sir Robert (Lord Monkswell). Sir Robert was amateur landscapist and Gladstone’s Attorney General. John Collier received his initial art training by being allowed to observe Tadema work on the large canvas. His father later purchased the painting as payment for the lessons and it won an award when exhibited in Berlin that year.
The artist later decided to paint over the sculptor’s torso with a smock. It is not known why he chose to retouch it, but the effort had negative results confirming the worst premonition of his brother-in-law, Edmund Gosse, who wrote to Vosmaer:
“The Venus Esquilina has been quite repainted, I hear, during the last week. I have not had time to go over to Townshend House to see it. I hope Alma-Tadema has not spoiled it, there is always a danger of that when he retouches his finished works.”
When it was exhibited at the Royal Academy in 1878, it elicited a heated debate. The Bishop of Carlisle wrote of this painting:
“My mind has been considerably exercised this season by the exhibition of Alma-Tadema’s nude Venus…[there might] be artistic reasons which justify such public exposure of the female form, but for a living artist to exhibit a life-sized, almost photographic representation of a beautiful naked woman strikes my inartistic mind as somewhat, if not very mischievous.”
Alma-Tadema responded by painting a soiled smock over the sculptor’s toga…
http://www.artrenewal.org/articles/2001/Alma-Tadema/tadema6.asp
…Alma-Tadema’s The Sculptor’s Model (1877), undraped apart from a headband, pubescent, fully frontal, yet observing the ancient Greek convention of a bald, unclefted pubic triangle…
http://www.independent.co.uk/arts-entertainment/bare-facts-behind-those-naked-ladies-these-nudes-troubled-and-excited-the-victorians-now-they-trouble-and-excite-middleeasterners-to-buy-buy-buy-says-john-windsor-1445572.html
…Alma-Tadema went a step too far for the Victorian audience when he painted the completely nude, A Sculptor’s Model. The outrage altered his style and he opted to paint semi-nudes from then on…
http://www.iatwm.com/200311/Montreal/index.html
…The Sculptor’s Mode!,” a picture of life-size, completed in 1877, which was suggested to the artist by the excavation of the so-called Esquiline Venus (discovered in 1874). The model in this work of art is represented in the same attitude its sculptor gave it. The warm flesh tones of the beautiful nude limbs form an extremely effective contrast to the cool gray of the bas-relief on the wall behind. The slender, girlish figure is well rounded, but not voluptuous, and the deeply-shadowed, delicately-cut features tell a whole history. This young creature has come to the studio reluctantly and, as she stands holding up her hair with the left hand while the right rests on a palm-branch, she is vexed that she is compelled to pose as a model and the time seems long.
Outside of art circles this superb picture would probably be less pleasing than many other creations of the master, but the connoisseur must hold it in specialty high esteem for the marvelous effects of light, in which it is so rich, and the exquisite golden tones of its coloring. Bold as is the idea of flooding even this beautiful flesh with such warm tones, daintily and airily as the feathery fronds of the pahn leaves flicker over the grand, noble lines of the nude body, this picture nevertheless produces a chaste impression…
(page 78) http://www.archive.org/stream/lorenzalmatadem00ebergoog/lorenzalmatadem00ebergoog_djvu.txt
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Article Source: ArticlesBase.com – What Are Some Of The Most Expensive Brands Of Pianos On The Market?
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