Assignment 4 The one you didn t do before

Assignment 4 The one you didn t do before My task for this assignment is to choose a different option from the one I selected for Assignment Three. So I have decided to write an essay about one of my favourite artists, George Frederick Watts. I have chosen to analyse his sculpture Monument to Lord Tennyson as I am already familiar with his oeuvre as a volunteer at the Watts Gallery. Figure 1 Figure 1 Monument to Lord Tennyson, 1898-1903, full-scale gesso grosso model, G.F. Watts. Watts Gallery. 1

Monument to Lord Tennyson, 1898-1903, G.F. Watts Monument to Lord Tennyson is a full scale gesso grosso commemorative sculpture which Watts created in honour of his friend Alfred Lord Tennyson (Watts Gallery, n.d.). His dog and companion Karenina sits loyally by his side, gazing up at her master as though waiting for him to speak to her. Depending on the viewpoint either the figure of Tennyson dominates or that of his dog Karenina. The sculpture features the famous poet in a slightly stooping posture gazing at a tiny violet in his hand, contemplating the beauty of nature and the meaning of life (Watts Gallery, n.d.). Watts gives his great friend a distinguished appearance via the full-length jacket and robes as he grasps a dishevelled looking hat. The exaggeration of his bodily proportions lends the statue a greater sense of impressiveness, as the sculpture looms over the spectator within the narrow confines of the room. When seen from the right side, the dog appears to envelope her master and exceeds the half way point of his body. This exaggeration of both of their bodies increases the impression of long and tall proportions. The various shapes used to create the figure and his dog comprise: spheres, triangles and cuboids. Figure 2 Monument to Lord Tennyson, 1898-1903, full-scale gesso grosso model, G.F. Watts. Therefore I am convinced that he worked from his imagination, rather than from life as it is clearly out of proportion. Although, for his sculptural works he preferred to use his imagination as it led to a greater sense of spontaneity and freedom of expression. 2

The Setting The Sculpture Gallery, at the Watts Gallery This monument is a tribute to Watts s great friend and was re-cast in bronze after Tennyson s death. The bronze version is situated outside Lincoln Cathedral. This version of Monument to Lord Tennyson is situated close to the entrance of the Sculpture Gallery. The figure is positioned to the right of the entrance of the room within a light-filled area. The sculpture is illuminated by both natural and artificial light. This helps one to view the sculpture and it also generates interesting shadow shapes. Both the Monument to Lord Tennyson and Physical Energy were modelled in gesso grosso, for ease of carving. These models were then used to create plaster moulds from which bronze versions of the same size were cast (Watts Gallery, n.d.). This was a very difficult and hazardous process involving several people to help pour molten metal at extremely high temperatures into moulds made from the models (Watts Gallery, n.d.). The combination of artificial and natural light is essential to the successful viewing of the statue as without it, it would be difficult to discern the various textures utilised by the artist to suggest fur, skin, drapery and hair. In fact the composition seems to come alive due to the textures visible to the spectator. The figure is raised on a thick plinth to provide extra height. The extra height makes the figure and the overall composition seem more impressive and is symptomatic of the high esteem by which he was regarded by his friends and peers. Figure 3 Monument to Lord Tennyson, 1898-1903, full-scale gesso grosso model, G.F. Watts. Figure 4 The Monument to Lord Tennyson dominates the interior of the Sculpture Gallery in addition to Watts's other more famous piece Physical Energy. Both sculptures face the exterior and have a commanding view of the Gallery and its environs. 3

Interpretation In this artwork the artist is trying to capture a sense of the poet laureate s personality and the character of his friend. His countenance is serious and contemplative which is perhaps how he was regarded by both the artist and their peers. According to the Watts Gallery Tennyson s briefest and most eloquent poems provided the inspiration for the statue (Watts Gallery, n.d.). The memorial was created between 1898 and 1903 in Watts s studio. He died before the finished bronze was installed outside Lincoln cathedral, but he did get to see it cast in bronze in the foundry. Watts was at the height of his popularity and agreed to work on the sculpture commission free apart from the expenses incurred for the bronze casting. His aim was to produce a magnificent commemorative sculpture to his friend which was to be installed in the Poet s home city (Watts Gallery, n.d.). The project was hugely important as the Poet was highly esteemed amongst his own class and by royalty. (Both Queen Victoria and Prince Albert were fans of his work), and so Watts set out to produce a monumental piece which would do both the Poet and himself justice. I think due to its statuesque proportions and interesting composition the artist was certainly influenced by the aforementioned factors. I also believe that his choice of materials influenced the tactile qualities of the final finished piece. In fact he used gesso grosso as it is easy to model when wet and easy to carve when dry. So this mixture of rags, plaster and hemp enabled Watts to produce a plaster cast which would imbue the finished bronze with additional qualities which other artist s copies have been unable to surpass (Watts Gallery, n.d.). Like the Monument to Lord Tennyson, Physical Energy is also created using gesso grosso and the advantages of using this material are obvious. Since it is still soft once it has dried, adjustments can be made over many years, which is why the meaning of it changed over time. As with the Monument to Lord Tennyson, Physical Energy as a piece of sculpture has evolved over many years and began life as a maquette. Watts liked to work from a variety of sources, and macquettes helped him to work out his composition on a small-scale before scaling up his works. Also, like the Monument to Lord Tennyson, Physical Energy has been immortalised many different times and for a variety of purposes. The gesso grosso model is on display at the Watts Gallery and the three bronze versions are situated in London, Zimbabwe and in South Africa (Watts Gallery, n.d.). Physical Energy has a very different style to the Monument to Lord Tennyson as it features a young man galloping on horseback, leaning back in his seat to scan the horizon. The feeling is very different as there is a sense of frenzied activity and movement. In fact it seems to come to life 4

in the studio as it looks as though the horse and rider could explode through the windows of the studio at any moment. The location of Physical Energy is important as the figure and horse seem poised and ready to take action. Evaluation The Monument to Lord Tennyson is a fitting memorial to the artist s great friend and can certainly be categorised as a large-scale figurative sculpture. The figure of Lord Tennyson is instantly recognisable due to his long face, thin nose and thick, bushy beard. The sculpture is based on one of Tennyson s poems Flower in the crannied wall (Watts Gallery, n.d.). Watts wished to demonstrate his friend s love of nature and so depicted the poet clasping a small violet in his hand. Watts depicts the Poet staring contemplatively at the flower whilst his dog loyally sits beside him. If the sculpture was produced in an alternative material such as marble I think it would be difficult to capture some of the lovely textures of the original plaster cast. In fact other artists have tried to emulate Watts s bronze version and have failed to capture the nuances. I think the location of the sculpture is ideal as the spectator can walk around it and thoughtfully contemplate it whilst seeing it amongst the rest of Watts s oeuvre. 5

Bibliography Brown, S. (2007) G.F. Watts, Physical Energy, Sculpture and Site. Studies in the Art of George Frederick Watts. Compton, Watts Gallery. "Monument to Lord Tennyson 1898-1903." Chart. Compton: Watts Gallery Artists Village, n.d. Print. "Sculpture Gallery Room Guide." Chart. Compton: Watts Gallery Artists Village, n.d. Print. Watts Gallery. (n.d.) Small Bronze Full-length Effigy of Standing Lord Tennyson with his Dog and a Hat; Study for the Large Commemorative Sculpture for Lincoln. Available from: http://wattsgallery.adlibsoft.com/detail.aspx?parentpriref= [Accessed 28 th March 2016] Watts Gallery. (n.d.) Full-Scale Gesso Model for the Commemorative Sculpture of Alfred Lord Tennyson. Available from: http://wattsgallery.adlibsoft.com/detail.aspx?parentpriref= [Accessed 28 th March 2016] Watts Gallery. (n.d.) Wax Effigy of Lord Alfred Tennyson, Study for the Large Comemorative Sculpture. Available from: http://wattsgallery.adlibsoft.com/detail.aspx?parentpriref= [Accessed 28 th March 2016] 6