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拍品专文
Near the beginning of The Persians, Atossa, widow of Darius, King of the Persians, dreams that her son Xerxes has been defeated in battle during his invasion of Greece. She summons the ghost of her dead husband who also condemns their son’s arrogant over-confidence. Romney depicts her vision of the defeated Xerxes, who has fallen ingloriously from his chariot and, lying on the ground, reaches out to the ghost of his father as if wishing to join him in death. On the left feminine figures symbolising the peoples of Greece (Graecia, in heroic pose with her arm raised in triumph) and Persia (Asia, in more craven pose) survey the scene.
Dr Potter assumed that Romney would eventually make a painting of the subject (which would enhance his own reputation) but in this he was to be disappointed. The artist did make further graphite studies and also two large black chalk cartoons (now in the Walker Art Gallery Liverpool, fig. 1) one of which is close to the present drawing. However none of these related works has the magisterial energy and certitude of this one, in which Romney powerfully distils the spirit and essence of Aeschylus’s play.
We are grateful to Alex Kidson for preparing this catalogue entry.
Dr Potter assumed that Romney would eventually make a painting of the subject (which would enhance his own reputation) but in this he was to be disappointed. The artist did make further graphite studies and also two large black chalk cartoons (now in the Walker Art Gallery Liverpool, fig. 1) one of which is close to the present drawing. However none of these related works has the magisterial energy and certitude of this one, in which Romney powerfully distils the spirit and essence of Aeschylus’s play.
We are grateful to Alex Kidson for preparing this catalogue entry.