Chatterton (Henry Wallis, 1856) Aliejinis paveikslas, sumalbuotas rankomis tik jums vienam

The Depiction of Thomas Chatterton

In the 1856 painting "Chatterton" by Henry Wallis, the subject is the 17-year-old English early Romantic poet Thomas Chatterton. The work portrays the young man after he poisoned himself with arsenic in 1770. He is shown lying in a state of death within a cramped setting. This specific depiction of the poet's end became a significant image for many young and struggling artists during the era in which Henry Wallis lived.

The figure of Chatterton is rendered with a pale complexion. He lies upon a bed, his head resting against a pillow. The physical state of the subject reflects the aftermath of the arsenic ingestion. The scene captures the quietude of the garret where the poet met his end. This portrayal focuses on the individual's vulnerability and the specific circumstances of his suicide.

Composition and Visual Elements

The oil on canvas measures 62.2 centimetres by 93.3 centimetres. The composition centers on a figure lying on a bed, positioned with the head resting upon a pillow. The subject is shown dead following the ingestion of arsenic. A window in the background allows natural light to enter the room, illuminating the space and the figure. Through this window, the skyline of the city is visible, specifically featuring the silhouette of St Paul's Cathedral.

The arrangement of objects within the room includes a chair situated in the background to the right of the bed. A vase is placed on a surface near the center of the room. Two potted plants occupy the space, one located toward the top left corner and another positioned toward the right side of the painting. The light from the window creates a specific interplay of light and shadow across the scene.

Technique and Artistic Style

This work is a Pre-Raphaelite painting characterized by a bold colour scheme and a contrasting palette. The artist utilizes a careful build-up of symbolic detail throughout the composition. Natural light enters through the window of the garret, creating a specific interplay of light and dark. This use of chiaroscuro defines the depth of the room and the contours of the figure.

The application of colour is intense, featuring a palette of high saturation. The artist achieved the necessary tonal shifts by first sketching the scene on-site and applying a grey tint to establish the shadows. Layers of pigment were then built upon this foundation to achieve the final appearance. The light falling from the window illuminates the subject against the darker, cramped confines of the attic space.

History and Provenance of the Work

The exhibition history of this oil painting began in 1856, when it was first shown at the Royal Academy summer exhibition. Following this debut, the work was presented at the Art Treasures Exhibition in Manchester in 1857. During the same year of 1856, the painting was sold to Augustus Egg.

The provenance of the work includes a transfer to the Tate Gallery in 1899. This acquisition occurred after the painting was left to the institution by Charles Gent Clement. The work remains part of the permanent collection at Tate Britain in London, United Kingdom.

Critical Reception and Influence

Upon its debut at the Royal Academy summer exhibition in 1856, the painting achieved immediate success. A prominent critic of the era described the work as faultless and wonderful. This reception helped establish the artist's reputation within the Pre-Raphaelite movement. The work's popularity extended beyond the initial exhibition, as it was later shown in Dublin in 1859.

The painting maintained a significant presence in the public consciousness throughout the 19th century. It became one of the most popular paintings of the period when produced in reproductive print form. This widespread availability allowed the imagery to reach a broad audience beyond those who could visit physical galleries. The visual impact of the composition and its specific subject matter contributed to this high level of circulation in print.

Where to View the Painting Today

The oil painting is held within the collection of Tate Britain, located in London, United Kingdom. This institution is also known as the Tate Gallery and the National Gallery of British Art. The work remains a permanent part of this museum's holdings, which encompass over 500 years of British art.

Visitors seeking to observe the canvas can find it in this London institution. The museum's collection includes various works from the 19th century and the Pre-Raphaelite movement. While the primary version is housed at Tate Britain, other versions of this subject exist in different locations:

• A version in the Birmingham Museum and Art Gallery
• A version in the Yale Center for British Art

Other Works by Henry Wallis

The artist's output includes several paintings that address different subjects and settings. In 1854, he produced Shakespeare’s House, a work that depicts the town of Stratford-upon-Avon with precision. His interest in historical accuracy is also evident in A Sculptor’s Workshop, which recreates a 17th-century studio based on detailed sketches. These works demonstrate a focus on specific environments and the meticulous rendering of architectural and professional spaces.

Wallis also turned his attention to the lives of laborers and the depiction of specific individuals. The Stonebreaker, exhibited in 1857, portrays the physical reality of those performing manual labor. Additionally, he produced a version of The Death of Chatterton in 1858. His body of work reflects a consistent engagement with both historical settings and the social conditions of the era.