Joseph Southall - Sacred and Profane Love
Joseph Southall - Sacred and Profane Love
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JOSEPH SOUTHALL, RWS, NEAC, RBSA
(1861-1944)
“Sacred and Profane Lone” possibly an idea for Music (1912)
Inscribed indistinctly, dated and signed u.l.: Tempera / Lefranc / vi.1911 and inscribed (verso) Formalin / vii.28
Watercolour
13 by 14.5 cm., 5 ¼ by 5 ¾ in.
Provenance:
The artist’s cousin Isabel Harlock and thence by descent.
The presence of two female figures (one nude, one playing a mandolin) exactly mirrors the central composition of his 1912 tempera painting Music (private collection) and may be an early study for this decorative picture that he painted in the following year. The strongly Giorgionesque quality of the landscape is also indicative of the lifelong influence that Venetian Art of the late fifteenth/early sixteenth century had upon Southall. The artist regularly applied formalin (a solution of formaldyhide) to his pictures as it helped in maintained the stability of the medium.
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“Sacred and Profane Lone” possibly an idea for Music (1912)Inscribed indistinctly, dated and signed u.l.: Tempera / Lefranc / vi.1911 and inscribed (verso) Formalin / vii.28Watercolour13 by 14.5 cm., 5 ¼ by 5 ¾ in. Provenance:The artist’s cousin Isabel Harlock and thence by descent.The presence of two female figures (one nude, one playing a mandolin) exactly mirrors the central composition of his 1912 tempera painting Music (private collection) and may be an early study for this decorative picture that he painted in the following year. The strongly Giorgionesque quality of the landscape is also indicative of the lifelong influence that Venetian Art of the late fifteenth/early sixteenth century had upon Southall. The artist regularly applied formalin (a solution of formaldyhide) to his pictures as it helped in maintained the stability of the medium.){kind=link}