Meditation

This picture was bought by the vendor, then aged 18, from an exhibition at the Maas Gallery in 1974 aptly entitled Stunners. The catalogue drew together the luminaries of the Pre-Raphaelite and Aesthetic movements, but this work stood out from the others as being remarkably immediate and modern. Indeed it can be seen to be timeless in its lack of idealisation, and suggestion of the rich, interior life of the sitter. Tantalisingly enigmatic, her character is hinted at through the absorption of her gaze, the disposition of her hands, and her slightly parted lips ready to articulate her thoughts. Her unknowability is enhanced by the perfect knowability and description of every surface detail, from the contrasting fabrics of her costume and cushion, through to the flesh tones, and the blond eyelashes which frame her downcast eyes. She is presented close to the picture plane, brought forward by the lack of depth to the plain then patterned wall behind. An animating twist of informality is added by the yellow ribbon she wears around her neck. Acute observation and under-statement combine to create a tour-de-force, within a restrained and limited palette.
The picture’s appearance has also enabled a reappraisal of our understanding of the artist. A Christie’s stock number on the reverse identifies that the picture was included in the posthumous sale of the collector Ralph Smyth, who died in 1883. This means that it cannot date to 1885 as previously thought, but must have been executed nearer 1880. It indicates that Moore renewed his interest in painting specific people, places and events earlier than thought. This was in contrast to his previous practice of painting allusive subjects such as Jasmine (Christie’s, London, 5 June 2008, lot 38), in which the subject was a draped, female figure who was beautiful for her own sake, rather than as an adjunct to a proscribed narrative.
The Smyth catalogue listed the title as Meditation. The picture can therefore be read not as a portrait, but as a modern day genre painting. This paves the way for titles later in the decade such as Revery or An Idyll. It leaves the number of portraits in Moore’s oeuvre, such as the likeness of his patron William Connal, shown at the Grosvenor Gallery in 1887, remarkably low. It reinforces Moore’s position as one the most original and technically superb talents of the period.
We are very grateful to Dr Robyn Asleson for her assistance in preparing this catalogue entry.