David Garrick Between Tragedy and Comedy | |
---|---|
Artist | Joshua Reynolds |
Year | 1761 |
Movement | Rococo, Neoclassical |
Subject | Melpomene, David Garrick, Thalia |
Location | Waddesdon Manor, Buckinghamshire |
David Garrick Between Tragedy and Comedy is a 1761 painting by the English painter Joshua Reynolds, depicting the actor and playwright David Garrick caught between the Muses of Tragedy and Comedy. It is regarded as one of Reynolds's most studied and well-known paintings, and is now in the collection of Waddesdon Manor, Buckinghamshire. [1]
Reynolds has drawn a large picture of three figures to the knees, the thought taken by Garrick from the judgment of Hercules. It represents Garrick between Tragedy and Comedy. The former exhorts him to follow her exalted vocation, but Comedy drags him away, and he seems to yield willingly, though endeavouring to excuse himself, and pleading that he is forced. Tragedy is a good antique figure, but wants more dignity in the expression of her face. Comedy is a beautiful and winning girl–but Garrick's face is distorted, and burlesque. Lord Halifax has given him £300 for it!
The art historian Horace Walpole provided the earliest known description of David Garrick Between Tragedy and Comedy. Walpole also recorded that George Montagu-Dunk, 2nd Earl of Halifax, bought the painting for £300, though it is unclear if this ever actually occurred. [3] [2] : 261
David Garrick stands in the centre of the painting wearing an Anthony van Dyck costume, against a rural landscape with a field and woodland. [4] : 283 He stands between the Muse of Comedy, known as Thalia, and the Muse of Tragedy, known as Melpomene. [5] : 138 He appears conflicted and hesitates between them, [4] : 283 starting to transform from a tragic playwright into a comedian. [5] : 140 Tragedy grabs Garrick's wrist with one hand and raises her other hand. Comedy is framed by a field and sky as she pulls on Garrick's arm. [4] : 283 The painting has motifs similar to 18th-century theatrical frontispieces depicting the Muses of Tragedy and Comedy: the Muse of Tragedy has a dagger and raises one arm, and the Muse of Comedy holds a mask in her left hand. [5] : 140
The differences between the two Muses are both formal and iconographic. [3] Comedy is painted in the rococo style, [4] : 288 reminiscent of the work of Antonio da Correggio. [3] Tragedy is drawn in the neoclassical style, [4] : 288 after the style of Guido Reni. [1] The painting employs elements of Augustan imagery, with its clothing, light, and shadow. [4] : 294 Comedy has slightly tousled fair hair, resembling the bacchante drawn by Peter Paul Rubens. She wears washed-out mauve clothing. [2] : 280 Tragedy wears a strong blue dress, with her head and arms covered as if in mourning. [3] Comedy smiles at the viewer, while Tragedy looks sternly at Garrick. [5] : 138 Comedy is in dappled light, while Tragedy is strongly lit from above, with a dark background. The side of Garrick's face towards Comedy is smiling and illuminated, while other side is in shadows as he looks worriedly at Tragedy. [4] : 296
Art historians often compare the painting to a scene in Greek mythology in which the god Hercules has to choose between Virtue and Pleasure. Reynolds' painting parodied this scene in that, whereas Hercules ultimately chooses the more modestly dressed Virtue, Garrick starts to succumb to the more immodestly dressed muse of Comedy. [5] : 140–2 It also differs from traditional compositions of this scene, which generally feature detached full-length figures. [2] : 269
David Garrick was famous as both a tragedian and comedian, and his earliest known association with the Muses of Tragedy and Comedy was in a 1747 poem by William Whitehead. In 1761, the same year Reynolds finished his painting of Garrick, a pamphlet with the signatures of the Muses of Comedy and Tragedy praised Garrick's theatrical achievements. [5] : 140 The historian David Mannings has suggested that the painting's composition was inspired by Guido Reni's Lot and his Daughters Leaving Sodom. [2] : 272–4
The painting follows instructions outlined in Notion of the Historical Draught of Hercules by Anthony Ashley-Cooper, 3rd Earl of Shaftesbury, which used the Choice of Hercules as an example of educational and moral art. [4] : 286–7 The painting shows Reynolds moving away from strict portraiture, symbolized by Tragedy, to more witty iconography, symbolized by Comedy. [5] : 142–3
Reynolds made this painting mainly in 1760–1761, [3] around the same time he was working on a portrait of Laurence Sterne. [5] : 138 Edward Edwards called it Reynolds's "first attempt in historical composition". [2] : 262 The painting had a mixed reception when it was first published, with some arguing it showed Reynolds' painting skills, while others disagreed. [6]
Edward Fisher created a mezzotint for the painting in 1762 before he exhibited it in May 1762 [7] at the Society of Artists in 1762 as Mr. Garrick, between two muses of tragedy and comedy. [6] Fisher published his mezzotint in November 1762, [7] having the inscription "Reddere personae scit convenientia cuique", meaning "he knows how to give to each what is appropriate". [6] In 1764, Reynolds requested copies of this print to give to his admirers. [7] The print was copied and pirated, producing at least fourteen different mezzotints. [5] : 143–4 One of these prints, which was sold in France in 1765, had the inscription L'Homme entre le Vice et la Vertu. [4] : 287
Garrick's 1775 play The Theatrical Candidates alludes to the painting when the two main characters Tragedy and Comedy enter into a dispute, and the character Harlequin interjects and argues the audience prefers him over both of them. [8] The painting possibly helped inspire Henry Fuseli's painting "The Infant Shakespeare between Tragedy and Comedy". [9]
The painting became one of Reynolds's most studied [5] : 138 and well-known works. [4] : 283 On 16 April 2018, a Twitter user called the painting "the 18th century equivalent" of the distracted boyfriend meme, a 2017 internet meme based on a 2015 stock photograph depicting a disloyal man and two women. [10] The comparison went viral and eventually, other social media users started using the painting as a meme similar to the distracted boyfriend meme. [11]
Sir Joshua Reynolds was an English painter who specialised in portraits. Art critic John Russell called him one of the major European painters of the 18th century. He promoted the "Grand Style" in painting, which depended on idealisation of the imperfect. He was a founder and first president of the Royal Academy of Arts and was knighted by George III in 1769.
In Greek mythology, Thalia, also spelled Thaleia, was one of the Muses, the goddess who presided over comedy and idyllic poetry. In this context her name means "flourishing", because the praises in her songs flourish through time.
William Hogarth was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called "modern moral subjects", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Familiarity with his work is so widespread that satirical political illustrations in this style are often referred to as "Hogarthian".
Maria Anna Angelika Kauffmann, usually known in English as Angelica Kauffman, was a Swiss Neoclassical painter who had a successful career in London and Rome. Remembered primarily as a history painter, Kauffman was a skilled portraitist, landscape and decoration painter. She was, along with Mary Moser, one of two female painters among the founding members of the Royal Academy in London in 1768.
Henry Fuseli was a Swiss painter, draughtsman, and writer on art who spent much of his life in Britain.
John Opie was an English historical and portrait painter. He painted many great men and women of his day, including members of the British Royal Family, and others who were notable in the artistic and literary professions.
Arthur Murphy, also known by the pseudonym Charles Ranger, was an Irish writer and barrister. He established himself in London as a leading playwright.
Robert Jephson was an Irish dramatist and politician.
John Manners, 3rd Duke of Rutland KG PC was an English nobleman, the eldest son of John Manners, 2nd Duke of Rutland and Catherine Russell. Styled Marquess of Granby from 1711, he succeeded to the title in 1721, cutting short a brief career in the House of Commons, where he had represented Rutland as a Whig.
William Mason was an English poet, divine, amateur draughtsman, author, editor and gardener.
Louis-François Roubiliac was a French sculptor who worked in England. One of the four most prominent sculptors in London working in the rococo style, he was described by Margaret Whinney as "probably the most accomplished sculptor ever to work in England".
Johan / Johann Joseph Zoffany was a German neoclassical painter who was active mainly in England, Italy, and India. His works appear in many prominent British collections, including the National Gallery, the Tate Gallery and the Royal Collection, as well as institutions in continental Europe, India, the United States and Australia. His name is sometimes spelled Zoffani or Zauffelij.
Lady Diana Beauclerk was an English noblewoman and celebrated artist.
The Boydell Shakespeare Gallery in London, England, was the first stage of a three-part project initiated in November 1786 by engraver and publisher John Boydell in an effort to foster a school of British history painting. In addition to the establishment of the gallery, Boydell planned to produce an illustrated edition of William Shakespeare's plays and a folio of prints based upon a series of paintings by different contemporary painters. During the 1790s the London gallery that showed the original paintings emerged as the project's most popular element.
Samuel William Reynolds was a mezzotint engraver, landscape painter and landscape gardener. Reynolds was a popular engraver in both Britain and France and there are over 400 examples of his work in the National Portrait Gallery, London.
David Garrick as Richard III is a painting dating from 1745 by the English artist William Hogarth.
Edward Fisher (1730–c.1785) was an Irish-born mezzotint engraver, mostly of portraits, working in London.
Distracted boyfriend is an Internet meme based on a 2015 stock photograph by Spanish photographer Antonio Guillem. Social media users started using the image as a meme at the start of 2017, and it went viral in August 2017 as a way to depict different forms of disloyalty. The meme has inspired various spin-offs and received critical acclaim.
In 1757, the actor David Garrick commissioned the sculptor Louis-François Roubiliac to make a full-size marble statue of William Shakespeare for Garrick's octagonal Temple to Shakespeare, erected near his villa beside the River Thames at Hampton, to the west of London. The sculpture cost 300 guineas and was installed at Garrick's temple in 1758; it remained there until it was bequeathed to the British Museum along with Garrick's books in 1779. The sculpture was transferred to the new British Library in 2005, where it is displayed on a new travertine plinth beside the main staircase in the main entrance hall.
Elizabeth Catherine Hunter, Lady Clarke, best known as Kitty Hunter, was an English noblewoman. She was the daughter of Thomas Orby Hunter, a member of parliament and lord of the Admiralty. In 1762, she eloped to mainland Europe with Henry Herbert, 10th Earl of Pembroke, causing a scandal. A year later the couple returned to England and Pembroke reconciled with his wife. Hunter had a son by Pembroke, Augustus Retnuh Reebkomp, who was supported by the Pembroke family and became a naval officer. Hunter was the mistress of Augustus Hervey before marrying army officer Alured Clarke. When Clarke was knighted she became known as Lady Clarke.