David Garrick Between Tragedy and Comedy

Last updated

David Garrick Between Tragedy and Comedy
Joshua Reynolds, David Garrick between Tragedy and Comedy, 1760-61 at Waddesdon Manor.jpg
Artist Joshua Reynolds
Year1761 (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]

Contents

Description

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!

Horace Walpole [2] :259–261

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

History

Background

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

The painting and its prints

Mezzotint print by Edward Fisher Garrick Between Tragedy and Comedy (Edward Fisher print).tif
Mezzotint print by Edward Fisher

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

Legacy

Distracted boyfriend meme inspired by a print of David Garrick Between Tragedy and Comedy The Man between Vice and Virtue.jpg
Distracted boyfriend meme inspired by a print of David Garrick Between Tragedy and Comedy

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 other social media users started using the painting as a meme similar to the distracted boyfriend meme. [11]

Related Research Articles

<span class="mw-page-title-main">Joshua Reynolds</span> English painter (1723–1792)

Sir Joshua Reynolds was an English painter who specialised in portraits. John Russell said he was 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.

<span class="mw-page-title-main">William Hogarth</span> English artist and social critic (1697–1764)

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. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as "Hogarthian".

<span class="mw-page-title-main">Angelica Kauffman</span> Swiss artist (1741–1807)

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, Kauffmann 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.

<span class="mw-page-title-main">Joseph Nollekens</span> 18th-century British sculptor

Joseph Nollekens R.A. was a sculptor from London generally considered to be the finest British sculptor of the late 18th century.

<span class="mw-page-title-main">Henry Fuseli</span> Swiss-born British painter, draughtsman and writer on art (1741–1825)

Henry Fuseli was a Swiss painter, draughtsman, and writer on art who spent much of his life in Britain. Many of his works depict supernatural experiences, such as The Nightmare. He painted works for John Boydell's Shakespeare Gallery and created his own "Milton Gallery". He held the posts of Professor of Painting and Keeper at the Royal Academy. His style had a considerable influence on many younger British artists, including William Blake.

<span class="mw-page-title-main">John Opie</span> English historical and portrait painter (1761–1807)

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.

<span class="mw-page-title-main">Pompeo Batoni</span> Italian painter

Pompeo Girolamo Batoni was an Italian painter who displayed a solid technical knowledge in his portrait work and in his numerous allegorical and mythological pictures. The high number of foreign visitors travelling throughout Italy and reaching Rome during their "Grand Tour" led the artist to specialize in portraits.

<span class="mw-page-title-main">Arthur Murphy (writer)</span> Irish writer

Arthur Murphy, also known by the pseudonym Charles Ranger, was an Irish writer and barrister. He established himself in London as a leading playwright.

<span class="mw-page-title-main">John Manners, 3rd Duke of Rutland</span> English nobleman

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.

<span class="mw-page-title-main">William Mason (poet)</span> 18th-century English poet, divine, draughtsman, author, editor, and gardener

William Mason was an English poet, divine, amateur draughtsman, author, editor and gardener.

<span class="mw-page-title-main">Louis-François Roubiliac</span> French sculptor (1702–1762)

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".

<span class="mw-page-title-main">Johan Zoffany</span> German painter (1733–1810)

Johan 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.

<span class="mw-page-title-main">Lady Diana Beauclerk</span> English noblewoman and artist

Lady Diana Beauclerk was an English noblewoman and celebrated artist.

<span class="mw-page-title-main">Boydell Shakespeare Gallery</span> Art museum in London

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.

<span class="mw-page-title-main">Samuel William Reynolds</span> English painter

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.

<i>David Garrick as Richard III</i> 1745 painting by William Hogarth

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.

<span class="mw-page-title-main">Distracted boyfriend</span> Stock photograph and internet meme

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.

<span class="mw-page-title-main">Statue of William Shakespeare (Roubiliac)</span> Sculpture by Louis-François Roubiliac

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.

<span class="mw-page-title-main">Kitty Hunter</span> English noblewoman (1740-1795)

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.

References

  1. 1 2 Room 8: The Theatre of Life, Tate , retrieved 27 July 2018
  2. 1 2 3 4 5 6 Mannings, David (Spring 1984), "Reynolds, Garrick, and the Choice of Hercules", Eighteenth-Century Studies, Johns Hopkins University Press, 17 (3): 259–283, doi:10.2307/2738169, JSTOR   2738169
  3. 1 2 3 4 5 Mannings, David (2000), Sir Joshua Reynolds: A Complete Catalogue of His Paintings, New Haven, Connecticut: Paul Mellon Centre for Studies in British Art, pp. 209–210, ISBN   0300085338
  4. 1 2 3 4 5 6 7 8 9 10 Barrett, Katy (November 2012), "'An Argument in Paint': Reynolds and Garrick between Tragedy and Comedy", Visual Culture in Britain, 13 (3): 283–302, doi:10.1080/14714787.2012.716989, S2CID   153992851
  5. 1 2 3 4 5 6 7 8 9 10 Hallett, Mark (2014), Joshua Reynolds: Portraiture in Action, New Haven: Paul Mellon Centre for Studies, pp. 138–144, ISBN   9780300196979
  6. 1 2 3 Postle, Martin (1995), "Several types of ambiguity: historical portraiture and history painting", Sir Joshua Reynolds: The Subject Pictures, Cambridge, Massachusetts: Cambridge University Press, pp. 30–32, ISBN   0521420660
  7. 1 2 3 Clayton, Tim (2005), "'Figures of Fame': Reynolds and the Printed Image", in Postle, Martin (ed.), Joshua Reynolds: The Creation of Celebrity, London: Tate Publishing, pp. 50–51, ISBN   9781854375643
  8. Wind, Edgar (1943), "Harlequin between Tragedy and Comedy", Journal of the Warburg and Courtauld Institutes, 6: 224–5, doi:10.2307/750440, JSTOR   750440, S2CID   195035285
  9. Powell, Nicolas (June 1952), "Fuseli: 'The Infant Shakespeare between Tragedy and Comedy'", The Burlington Magazine , Burlington Magazine Publications, 94 (591): 172–3, JSTOR   870708
  10. Kelly, Tiffany (17 April 2018), "This 18th-century painting looks like the Distracted Boyfriend meme", The Daily Dot , retrieved 24 July 2018
  11. Tansill-Suddath, Callie (17 April 2018), "The 'Distracted Boyfriend' Meme Has An 18th Century Version That People Are Going Wild For On Twitter", Bustle , retrieved 27 July 2018