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  • Like many of his fellow artists, Rowlandson continually mocked the foibles of connoisseurs in a variety of ways over the course of his career. Around the time he made this drawing, the eighteenth-century culture of connoisseurship had received a major boost, as art flowed more freely than ever in the wake of the French Revolution (Bermingham, 1995, p. 503). As Archibald Alison put it, echoing earlier authors, the “fine arts are . . . addressed to the imagination, and the pleasures they afford, are described . . . as the Pleasures of the Imagination” (Alison, 1790, p. 1). In this instance three connoisseurs pay a visit to an artist's studio to judge his latest offering: a historical painting of Susanna and the Elders. While the artist gazes at the ceiling in a pose of studied nonchalance, they study his unfinished canvas. But rather than enjoy the pleasures of the imagination, these connoisseurs are content to stop at the pleasures of the flesh. Like latter-day Elders, they lust over the nude Susanna, just as their forebears had in the apocryphal addition to the Book of Daniel. One viewer seats himself within a few inches of the easel to gawk at her body, his desiccated companion peers through an eyeglass and licks his lips, and a third smirks gleefully from a greater distance. Typically for Rowlandson the humor lies in the incongruous juxtaposition of contrasts: the beauty of Susanna and the ugliness of the connoisseurs; Susann’'s innocence and the connoisseurs’ lust; her youth and their age. The heart of the satire, however, is found in the men's hands, which grasp their walking sticks and eyeglasses with desperate tension. Ironically when it comes to enjoying real women, Rowlandson suggests these impotent old lechers will be forced to confine themselves to the pleasures of the imagination.
?:PX_curatorial_comment
  • Like many of his fellow artists, Rowlandson continually mocked the foibles of connoisseurs in a variety of ways over the course of his career. Around the time he made this drawing, the eighteenth-century culture of connoisseurship had received a major boost, as art flowed more freely than ever in the wake of the French Revolution (Bermingham, 1995, p. 503). As Archibald Alison put it, echoing earlier authors, the "fine arts are . . . addressed to the imagination, and the pleasures they afford, are described . . . as the Pleasures of the Imagination" (Alison, 1790, p. 1). In this instance three connoisseurs pay a visit to an artist's studio to judge his latest offering: a historical painting of Susanna and the Elders. While the artist gazes at the ceiling in a pose of studied nonchalance, they study his unfinished canvas. But rather than enjoy the pleasures of the imagination, these connoisseurs are content to stop at the pleasures of the flesh. Like latter-day Elders, they lust over the nude Susanna, just as their forebears had in the apocryphal addition to the Book of Daniel. One viewer seats himself within a few inches of the easel to gawk at her body, his desiccated companion peers through an eyeglass and licks his lips, and a third smirks gleefully from a greater distance. Typically for Rowlandson the humor lies in the incongruous juxtaposition of contrasts: the beauty of Susanna and the ugliness of the connoisseurs; Susanna's innocence and the connoisseurs' lust; her youth and their age. The heart of the satire, however, is found in the men's hands, which grasp their walking sticks and eyeglasses with desperate tension. Ironically when it comes to enjoying real women, Rowlandson suggests these impotent old lechers will be forced to confine themselves to the pleasures of the imagination.
  • Like many of his fellow artists, Rowlandson continually mocked the foibles of connoisseurs in a variety of ways over the course of his career. Around the time he made this drawing, the eighteenth-century culture of connoisseurship had received a major boost, as art flowed more freely than ever in the wake of the French Revolution (Bermingham, 1995, p. 503). As Archibald Alison put it, echoing earlier authors, the “fine arts are . . . addressed to the imagination, and the pleasures they afford, are described . . . as the Pleasures of the Imagination” (Alison, 1790, p. 1). In this instance three connoisseurs pay a visit to an artist's studio to judge his latest offering: a historical painting of Susanna and the Elders. While the artist gazes at the ceiling in a pose of studied nonchalance, they study his unfinished canvas. But rather than enjoy the pleasures of the imagination, these connoisseurs are content to stop at the pleasures of the flesh. Like latter-day Elders, they lust over the nude Susanna, just as their forebears had in the apocryphal addition to the Book of Daniel. One viewer seats himself within a few inches of the easel to gawk at her body, his desiccated companion peers through an eyeglass and licks his lips, and a third smirks gleefully from a greater distance. Typically for Rowlandson the humor lies in the incongruous juxtaposition of contrasts: the beauty of Susanna and the ugliness of the connoisseurs; Susann’'s innocence and the connoisseurs’ lust; her youth and their age. The heart of the satire, however, is found in the men's hands, which grasp their walking sticks and eyeglasses with desperate tension. Ironically when it comes to enjoying real women, Rowlandson suggests these impotent old lechers will be forced to confine themselves to the pleasures of the imagination.
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  • Bibliograpic reference ::
  • Bibliograpic reference :: A loan exhibition of English drawings and watercolours from the collection of Mr and Mrs Paul Mellon of Upperville, Virginia, P. & D. Colnaghi & Co., London, 1964, cat. no. 26, N5247.M385 L62 (YCBA)
  • Bibliograpic reference :: Archibald Alison, Essays on the nature and principles of taste, Dublin, 1790, p. 1, Available online in Orbis
  • Bibliograpic reference :: Deanna Petherbridge, The primacy of drawing : histories and theories of practice, , Yale University Press, New Haven, 2010, pp. 370-71, pl. 274, NC53 P48 2010 + (YCBA)
  • Bibliograpic reference :: John Baskett, Paul Mellon's legacy, a passion for British art : masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, p. 273, no. 66, pl. 66, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: Vic Gatrell, The first bohemians, life and art in London's golden age, Allen Lane, London, 2013, p. 218, pl. 14, NX544.L6 G37 2013 (YCBA)
  • Bibliograpic reference :: Yale University Art Gallery, English drawings and watercolors, from the collection of Mr. and Mrs. Paul Mellon, April 15 - June 20, 1965, New Haven, 1965, cat. no. 26, NC228 Y34 (YCBA)
  • Dimension height :: 22.9cm
  • Dimension height :: 23.5cm
  • Dimension width :: 30.5cm
  • Dimension width :: 31.3cm
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: Bernard Berenson and the Connoisseurship of Early Italian Painting
  • Exhibition :: English Drawings and Watercolors from the collection of Mr. and Mrs. Paul Mellon
  • Exhibition :: Paul Mellon's Legacy : A Passion for British Art
  • Exhibition :: Rowlandson Drawings from the Paul Mellon Collection
  • Exhibition :: The Burlington Fine Art and Antique Dealers' Fair Ltd.
  • Exhibition :: The Line of Beauty : British Drawings and Watercolors of the Eighteenth Century
  • Exhibition :: Thomas Rowlandson from the Paul Mellon Collection
  • Located in :: New Haven
  • Located in :: Not on view
  • Located in :: YCBA, 222, C 18, R- 8
  • Located in :: Yale Center for British Art
  • Object type :: drawing
  • Object type :: watercolor
  • Subject Concept :: cane
  • Subject Concept :: chair
  • Subject Concept :: connoisseur
  • Subject Concept :: easel
  • Subject Concept :: genre subject
  • Subject Concept :: men
  • Subject Concept :: paint brushes
  • Subject Concept :: painters
  • Subject Concept :: painting (visual work)
  • Subject Concept :: palette
  • Subject Concept :: table
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  • ...
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  • Yale Center for British Art, Paul Mellon Collection
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?:label
  • The Connoisseurs
?:type