Oil painting by Robert Smirke illustrating a scene from Beaumont and Fletcher's, 'The Humorous Lieutenant'. Great Britain, ca. late 18th century-early 19th century.

Oil painting

Given by John Sheepshanks, 1857

Given by John Sheepshanks, 1857.

Historical Significance: Robert Smirke was in born in Wigton, Cumberland. He was brought to London in 1766 to become an apprentice in a coach-painting workshop. In 1775 he became a member of the Incorporated Society of Artists. He exhibited in the Royal Academy from 1786 to 1813, as a full academician from 1793. Later in life he fell out of favour in the Academy because of his democratic political views. In 1804 Smirke was elected Keeper of the Royal Academy by fellow academicians, but King George III refused to endorse the appointment and it subsequently went to Henry Fuseli (1741-1825).

Smirke mainly produced works in oil or grisaille, later focusing on small formats appropriate for reproduction as engravings. He became one of the most prolific book illustrators of his time. His works, showing an assured draughtsmanship, are not without a sense of humour. Some of the examples of Smirke’s illustration projects include engravings for several editions of the Arabian Nights (1802. 1810, 1814, 1839), Don Quijote (1818) and works by Shakespeare.

A number of paintings from the Don Quijote series survive in the Tate. Examples of his illustrations can be found in the British Museum as well as the Victoria and Albert Museum.

This painting served as a source for an engraving illustrating the Humorous Lieutenant written in collaboration by Francis Beaumont (1584-1616) and John Fletcher (1579-1625), who were important dramatists during the age of James I. The story is set in the ancient Middle East after the death of Alexander the Great. The plot focuses on the love between Demetrius and an obscure woman, who at the end turns out to be Enanthe, the daughter of King Seleucus and therefore a suitable match for the prince.

This work shows the quality of Smirke’s drawing. He managed to convey the action using concise strokes and limited means. The painting is not abundant in tonal variety and details of the background, which makes it suitable for engraving. The work is hard to identify with a particular scene from the text.

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