Henry Thomson, R.A.

J. Deffett Francis, by 1880

London, Royal Academy, 1814, no. 176 

ENGRAVED
by William Ward

STRUCTURE The canvas is unlined. PAINT SURFACE The painting appears to be in fairly good condition. There is some minor flaking in scattered areas, predominantly in the upper right of the canvas, and some resultant very small chips of paint loss. This flaking is primarily to the background areas, rather than the figurative details. There are some minor abrasion marks to the edges of the canvas where it meets the frame and there is an uneven layer of dirt overall. The painting should ideally be locally stabilised and may appear flat at first sight but close inspection reveals that below the surface dirt and varnish there is a rich depth in the colour tones of the painting which should come out with a light clean. ULTRAVIOLET Examination under ultraviolet light reveals a layer of opaque and discoloured varnish overall as well as minor scattered retouching in the lower right of the picture, to the drapery. There is also some minor retouching in the lower left around the feet of the principal figure and to the canvas edges. The opacity of the varnish prohibits further examination and there may be further retouchings underneath which do not fluoresce, however the painting would appear to be in relatively untouched condition. FRAME Held in a gilded wooden frame.
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Engraved by William Ward

This dramatic and emotionally charged painting depicts the seminal moment in the tragic tale of Orpheus and Eurydice from Greek mythology, as quoted by Virgil. Eurydice, the forest nymph and wife of the Thracian king Orpheus (slain by a poisonous snake on their wedding day) is carried back down into the Underworld. Orpheus has broken the conditions of her release by looking back over his shoulder as they ascend to the living world.

Orpheus is depicted here with his golden lyre (a gift from the god Apollo). His hands are clasped in agony at the realisation of what he has done whilst the body of his beloved is physically dragged down into the depths of the Hades. Orpheus was dubbed by Pindar 'the father of songs' and was famed in classical mythology for the ability to charm the beasts and even coax the trees and rocks into dance with his music.

A painter, primarily, of mythological and domestic works, as well as portraiture, Henry Thompson entered the Royal Academy schools in 1790, as well as becoming a pupil of John Opie in the same year. In 1793 he visited Paris with his father and travelled in Italy, visiting Parma, Florence, Rome, Venice and all the major cultural destinations, returning to England in 1799, via Vienna and the major German centres. His earliest entry at the annual Academy exhibitions was in 1792 but he did not become a regular contributor until 1800. He was elected an associate member in 1801 and promoted a full Royal Academician in 1804, Prospero and Miranda being his diploma work.   

In 1825 he succeeded Henry Fuseli as Keeper of the Royal Academy, though he resigned after two years on account of ill health. In 1828 he retired to Portsea, though he continued to exhibit regularly until 1834. Thomson's pictures, extremely popular during the artist's lifetime, are known today chiefly through mezzotint reproductions and it is rare for such a striking and impressive work by the artist to come onto the open market.