Landscape Painting
Oil Painting
1868 (painted)
1868 (painted)
Artist/Maker | |
Place of origin |
Two female figures, one seated and one standing, sat in a garden with roses by a wall under tree branches. Left woman is painting. Signed 'G.D. Leslie' and dated '1868' in bottom right corner.
Object details
Categories | |
Object type | |
Title | Landscape Painting (generic title) |
Materials and techniques | Oil on canvas |
Brief description | Decorative lunette painting, commissioned for the National Competition Gallery (now Rooms 100 and 101). G.D. Leslie, Landscape Painting, 1868. Lunette 3 for Room 101, west wall (commencing from south end). |
Physical description | Two female figures, one seated and one standing, sat in a garden with roses by a wall under tree branches. Left woman is painting. Signed 'G.D. Leslie' and dated '1868' in bottom right corner. |
Dimensions |
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Styles | |
Marks and inscriptions | 'G.D. LESLIE' (Signed by the artist in bottom right corner) |
Credit line | Conserved with the support of The Pilgrim Trust, with additional thanks to The Worshipful Company of Grocers |
Object history | Landscape painting was commissioned in 1868 to decorate one of eighteen lunette-shaped recesses in the upper portion of rooms 100 and 101 (at that time the National Competition Gallery). The lunettes were removed just before the Second World War and placed in store. This painting, along with the eight others made for the west wall of room 101, was conserved and reinstalled in its original location in August 2010. Historical significance: The National Competition Gallery (now rooms 100 and 101) in the East Ranges of the Museum was completed in 1864-65. At that time it was formed of two parallel top-lit rooms; these were used for the marking and display of work by art students in Department of Science and Art-run schools across the country. Richard Redgrave, who was placed in charge of the decoration of the gallery in 1863, proposed to commission paintings for the eighteen lunettes along the upper sections of the walls. The project, managed jointly by Redgrave and Henry Cole, continued for thirteen years; several lunettes were completed and in position by 1868, although work was not completed fully until 1876. Broadly speaking, there were two stages in the production of the lunettes. Most of those created towards the beginning of the period were decorative, allegorical paintings carried out by art students from designs by Godfrey Sykes, Frank Moody, Alfred Morgan and Redgrave. A second stage was initiated in November of 1867 by William Frederick Yeames who contacted Cole and suggested that he should be commissioned for the project. Initial plans to commission other artists of the stature of Leighton, Watts and Poynter were scaled down, and the core of those chosen were historical genre painters from the loose association of artists known as the St John's Wood Clique: Yeames himself, G.D. Leslie, Henry Stacy Marks and D.W. Wynfield. Cole held a meeting with the artists to establish a theme for the lunettes, and, appropriately for a gallery in which students' work was displayed and judged, it was decided that the paintings should represent the practices of drawing, painting and sculpture in a programmatic representation of Redgrave's curriculum for art schools, the National Course of Art Instruction. The resulting subjects treated by the compositional canvases included life drawing, modelling from the life, study of anatomy, landscape painting, flower painting and still life drawing. The various artistic activities represented in the paintings are set within relevant historical contexts; each takes place within the period and place considered to have fostered its inception or its apogee. So drawing the skeletal structure of the body is set in Renaissance Florence and still-life drawing is given a 17th-century Flemish setting. The art of landscape painting is represented in this lunette by two young, presumably English, women on a garden terrace. Both are dressed in fashionable clothes of the mid-19th century. The seated woman on the left holds a small board on her lap, and by her side is a water jug with a paint brush standing in it and a cloth. She appears to gaze out at the landscape, while her companion on the right leans on a low wall and looks down at her friend's watercolour. The painting alludes to the widespread practice of amateur painting in the 19th century, when drawing and watercolour painting was considered to be an important part of a young lady's education. George Dunlop Leslie (1835-1921) was the son of C.R. Leslie, friend and biographer of Constable. Leslie studied under his father and at the Royal Academy Schools. He became a landscape and genre painter, and exhibited at the R.A. and elsewhere from 1857. After an early period in which he was influenced by Pre-Raphaelite ideas, he turned to landscape views featuring children and girls, especially views on the Thames. Leslie lived in St. John's Wood and, along with a number of other painters involved in the National Competition Gallery Project, was a member of the St. John's Wood Clique. |
Subjects depicted | |
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Collection | |
Accession number | SKM.3 |
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Record created | June 12, 2008 |
Record URL |
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