Studies for Atalanta's Race; A Seated Male Spectator and Milanion

These two drawings on a single sheet are studies for two male figures in an oil entitled Atalanta's Race, one of four canvases commissioned by the first Earl of Wharncliffe to decorate the Billiard Room of his substantially remodelled seat, Wortley Hall, near Sheffield, in 1871. The entire decorative scheme was destroyed in the Second World War but a sketch for the picture was seen in Christie's, London, 9 February 1990, lot 253, and 9 June 1995, lot 341. The figure with the outstretched arm is seen seated to the left of the painting pointing to Milanion's impending victory. The second drawing is a preparatory sketch of Milanion lunging forward for the winning line. In the finished canvas his head is seen turned to the right to watch his opponent. The story of Atalanta, as recorded by Ovid, relates how the athletic huntress used to challenge all suitors who wished to marry her to a race, the loser being punished by death. She remained unbeaten and a virgin until challenged by Milanion, who dropped three golden apples given to him by Venus. As Atalanta could not resist stopping to pick them up, Milanion won the race. They later made love in the Temple of Cybele but offended the goddess so much that she turned them into lions. The finished canvas was exhibited at the Royal Academy in 1876 (no. 943) and drew much critical admiration for the sense of arrested energy displayed by the running lovers. Their anatomy derived in no small part from Poynter's study of the Renaissance old masters, and his training in the French academic tradition.

For a discussion of the Wharncliffe pictures see: Alison Inglis, 'Sir Edward Poynter and the Earl of Wharncliffe's Billiard Room', Apollo, CXXVI, October 1987, pp. 249-255.