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Edward John Poynter“Study for Neobule, 1894” Neoclassical Chalk Drawing British Signed 19th Century1894
1894
$9,500
£7,237.42
€8,259.61
CA$13,349.75
A$14,548.88
CHF 7,704.26
MX$174,747.33
NOK 97,537.60
SEK 89,676.23
DKK 61,690.13
About the Item
“Study for Neobule, 1894” by Sir Edward John Poynter (English, 1836-1919)
This exquisite 1894 study by Sir Edward John Poynter (1836–1919) serves as a preparatory drawing for his painting of Neobule, a figure from Horace’s Odes. This work was produced near the height of Poynter’s fame and in the same year that he was appointed Director of the National Gallery (the last artist to ever hold the position). Executed in black and white chalks on brown paper, the work embodies the delicate balance between academic rigor and emotional depth that defines Poynter’s oeuvre. The figure, draped in classical robes, is captured in a moment of introspection, her posture one of quiet melancholy. Her head rests against her hand in a gesture of contemplation, while her bare feet and relaxed pose emphasize a certain vulnerability. Taking notes from Michelangelo, to whom some critics have made a comparison, Poynter challenges himself with a more complex, twisted body position. A beautifully rendered hand appears with a few short strokes of black chalk and white highlights, while careful black outlining around the arms provides a strong sense of depth and dimension.
Neobule, a character from the Roman poet Horace’s poetry, is traditionally depicted as a woman caught between love and duty, weighed down by the emotional complexities of her existence. In this study, Poynter masterfully conveys her inner turmoil through subtle yet expressive lines. The loose yet controlled execution of her drapery recalls the influence of classical sculpture, a hallmark of Poynter’s training and his adherence to the principles of the Royal Academy. The use of white chalk highlights along the folds of the fabric and the soft illumination of her face underscore the artist’s technical prowess, making this a particularly refined example of his draftsmanship.
Poynter, a leading figure of the Victorian era, was renowned for his historical and mythological compositions, often drawing inspiration from antiquity. His work was deeply influenced by the classical revival movement, which sought to uphold the artistic ideals of ancient Greece and Rome while infusing them with the romantic sensibilities of the 19th century. This study is particularly valuable in that it offers a direct glimpse into Poynter’s creative process, revealing his meticulous approach to composition and form.
This work is housed in a later gold frame behind matting and glazing. Inscriptions on the back of the sheet (“1563HXX”) and matting (“Stock No. 1563”) likely reference a London gallery’s inventory in the last quarter of the 20th century.
Special thanks to Simon Toll, author of an upcoming book on Poynter, for his identification of this work as a study for Neobule.
Size:
10 7/8 inches tall by 9 5/8 inches wide (sheet)
23 inches tall by 17 inches wide by 1 inch deep (frame)
Provenance:
London art market 1980s/90s;
Private collection, PA;
Acquired from the above
About the artist:
Regarded as one of the leading artists of Victorian England, Poynter made a reputation for himself as a painter of historical subjects in which precise archeological detail, interesting narrative themes, and a polished technique were combined with great effect. His first success came with his painting Israel in Egypt, exhibited at the Royal Academy in 1867, and his reputation continued to rise throughout his career with other successful pictures. One of his grandest productions was the monumental The Visit of the Queen of Sheba to King Solomon, painted between 1883 and 1890 (now in the collection of the Art Gallery of New South Wales in Sydney, Australia). In addition to his studio work, he also received public commissions that included the decoration of the interior of the Palace of Westminster and the Royal Albert Hall.
Poynter also worked in watercolour and fresco, and made designs for stained glass, mosaic and ceramics. Apart from being the first Slade Professor of Art at University College in London, Poynter was appointed Director of the National Gallery in 1894 (the last artist to hold the position) and, from 1896, served concurrently as President of the Royal Academy.
A versatile and gifted draughtsman and a firm advocate of life drawing, Poynter made numerous figure studies for each of his paintings. His drawings were greatly admired in his lifetime. As one recent scholar has noted, ‘By the late 1860’s Poynter’s graphic work was renowned for its excellence, and by the 1880s he was hailed by his contemporaries as the finest British figure draughtsman of his time.’ One contemporary writer, in a book devoted solely to the artist’s drawings, noted of Poynter’s preparatory studies for his paintings that ‘In the bold vigour of his generalizations, in the minute and searching attention to details, and in the broad and masterly use of the material, be it charcoal, chalk, or pencil, we perceive how conscientiously he has laid to heart the example long since set by Michel Angelo.’
Condition: Excellent overall condition. Very minor scuffs at margins. Professionally hinged along top corners. Later frame with typical wear from handling. It is ready to be displayed and enjoyed!
- Creator:Edward John Poynter (1826 - 1919, British)
- Creation Year:1894
- Dimensions:Height: 23 in (58.42 cm)Width: 17 in (43.18 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement Style:Aesthetic Movement
- Period:
- Condition:Excellent overall condition. Very minor scuffs at margins. Professionally hinged along top corners. Later frame with typical wear from handling. It is ready to be displayed and enjoyed!
- Gallery Location:Yardley, PA
- Reference Number:1stDibs: LU2911217274662
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