| dc.contributor.author | Batoni, Pompeo (Italian painter and draftsman, 1708-1787) | |
| dc.date.accessioned | 2008-04-07T08:59:56Z | |
| dc.date.available | 2008-04-07T08:59:56Z | |
| dc.date.created | 1769 | |
| dc.date.issued | 1982-06-08 | |
| dc.identifier.citation | Greater London Council. Catalogue of 'Pompeo Batoni (1708-87) and his British Patrons'. The Iveagh Bequest, Kenwood, Hampstead Lane NW37JR, 8 June - 30 August 1982. Published by GLC. p 62, Cat. No. 30 | en |
| dc.identifier.uri | http://hdl.handle.net/2262/15990 | |
| dc.description | 'Arthur Saunders Gore (1734-1809) was the son of Arthur Gore, 3rd Bt., and 1st Earl of Arran, and Jane Worth, daughter and heiress of Richard Saunders, of Saunders Court, County Wexford. He married in 1760 as his first wife Catherine Annesley (d. 1770), only daughter of William, Viscount Glerawly. The couple had six children, the eldest of whom, Arthur Saunders Gore (1761-1837), later 3rd Earl of Arran, is traditionally identified as being the child shown in the portrait with his parents.
Brinsley Ford has discovered two references to Gore's presence in Italy. He is listed in the 'Gazzetta Toscana' for 10 January 1767, amongst those who had recently arrived in Florence, and on 24 January 1767 Horace Mann wrote to Horace Walpole that he had presented 'Mr. Gore, Lord Arran's son' at Court and that he had been invited to dinner by the 'Great Duke'. It is noticeable that Gore's wife and family are not referred to here, and this may provide an interpretation for this intriguing portrait group. For whereas the figure of Gore himself, dressed in contemporary costume, is clearly taken from life, the portrayal of his wife, shown with indeterminate features and shrouded in classical drapery, suggests that she cannot have sat to Batoni. The possibility that this is a posthumous portrait is apparently ruled out by the date, but the painting could perhaps be interpreted as an allegory of the love binding a husband and wife separated by distance. The presence of the Cupid, hovering protectively around Catherine Gore, supports an allegorical meaning; it seems unlikely that he is intending to represent the couple's son.
The portrait is remarkable for having been executed in a year when Batoni was fully occupied with the portrait of the 'Emperor Joseph II and his brother Leopold, Grand Duke of Tuscany' (Kunsthistorisches Museum, Vienna); because of the importance of Joseph II and Maria Teresa's patronage, Batoni attempted to avoid other commissions at this period. It is interesting to note the close stylistic link between the two paintings; the relationship of the figures to one another within the rather confined vertical compass, and the almost identical pose of the sitter on the left in each case.'(Greater London Council, 62) | en |
| dc.format.extent | 202851 bytes | |
| dc.format.medium | oil paint (pigmented coating) | en |
| dc.format.mimetype | image/jpeg | |
| dc.language.iso | en | |
| dc.subject | Gore, Catherine, (nee Annesley) | en |
| dc.subject.lcsh | Art, Irish | en |
| dc.subject.lcsh | Portrait painting, Italian | en |
| dc.subject.lcsh | Portraits, Irish | en |
| dc.subject.lcsh | Portraits, Group Rome. | en |
| dc.subject.lcsh | Gentry Ireland History. | en |
| dc.subject.lcsh | Arran, Arthur-Saunders Gore, Earl of | en |
| dc.subject.lcsh | Love in art | en |
| dc.subject.lcsh | Clothing and Dress History 18th century | en |
| dc.subject.lcsh | Cupid (Roman deity) In art. | en |
| dc.subject.lcsh | Symbolism in art | en |
| dc.subject.lcsh | Allegories | en |
| dc.title | Arthur Saunders Gore, later 2nd Earl of Arran, with his wife and son | en |
| dc.type | Image | en |
| dc.contributor.role | artist | en |
| dc.coverage.culture | Irish | en |
| dc.format.extentdimensions | 110.5 cm x 82.5 cm | |
| dc.format.support | canvas | en |
| dc.subject.period | 18th century | |
| dc.type.work | painting | en |
