DOI Page / Citation link:
https://doi.org/10.11588/diglit.6915#0144
TOO
sculpture:—a falling giant.
artist let us impartially reflect on the advantages and disadvantages of his own
peculiar situation in life, and of the age in which he lived.
Thomas Banks was not early initiated in the principles or practice of his art:
he was apprenticed to a carver in wood for seven years ; and during this servitude
he voluntarily studied modelling as an amusement, and as a process more
congenial to his disposition and feelings than cutting wood. Some of his models
were exhibited at the " Society of Arts," and obtained premiums. Stimulated
by this success, he next submitted his works to the " Royal Academy," and
fortunately obtained the gold medal of that institution in 1770. Two years
afterwards, he was sent to Rome, and his expenses defrayed there for three years ;
but he remained abroad seven years. His progress in art was rapid, and his
science and taste were so manifest, on his return, that he was elected an associate
and afterwards a member of the Royal Academy. On this occasion he presented,
to that body, the statue of the Falling Giant. The merit and originality of this
figure exalted the sculptor above his competitors, as it evinced powerful genius
and high professional talent. The design was poetical and daring; but the
execution proved him competent to the task he had voluntarily engaged in.
In form, expression, anatomical accuracy, and adaptation, this statue approaches
perfection : it is one of those works of art, that in a small compass, and with
simplicity of parts, may be called sublime. The mind of the spectator is imper-
ceptibly hurried away from the object to the subject, from the marble personi-
fication of a human figure to the poetical tales of the ancients, from a small
statue to the imaginary display of super-human power and gigantic mightiness.
One of the heroes of a class of giants, or Titans, who had waged war against
the gods, is shown in the act of falling; as having just received a mortal stroke
from Jove : but in the moment of death, and with the last struggles of a
convulsed frame, he pulls the rock upon himself.
To appreciate the design of this statue, we must refer to the poems of Hesiod
and Ovid, and to other ancient writers; and admitting their fables to be worthy
the illustrations of an English artist, endeavour to ascertain how far Banks' work
fulfils the demands of the impartial and discriminating critic. In execution, it
is allowed that he has been eminently successful. It is placed in the council-
room of the Royal Academy.
J. B.
Djsc 1811.
sculpture:—a falling giant.
artist let us impartially reflect on the advantages and disadvantages of his own
peculiar situation in life, and of the age in which he lived.
Thomas Banks was not early initiated in the principles or practice of his art:
he was apprenticed to a carver in wood for seven years ; and during this servitude
he voluntarily studied modelling as an amusement, and as a process more
congenial to his disposition and feelings than cutting wood. Some of his models
were exhibited at the " Society of Arts," and obtained premiums. Stimulated
by this success, he next submitted his works to the " Royal Academy," and
fortunately obtained the gold medal of that institution in 1770. Two years
afterwards, he was sent to Rome, and his expenses defrayed there for three years ;
but he remained abroad seven years. His progress in art was rapid, and his
science and taste were so manifest, on his return, that he was elected an associate
and afterwards a member of the Royal Academy. On this occasion he presented,
to that body, the statue of the Falling Giant. The merit and originality of this
figure exalted the sculptor above his competitors, as it evinced powerful genius
and high professional talent. The design was poetical and daring; but the
execution proved him competent to the task he had voluntarily engaged in.
In form, expression, anatomical accuracy, and adaptation, this statue approaches
perfection : it is one of those works of art, that in a small compass, and with
simplicity of parts, may be called sublime. The mind of the spectator is imper-
ceptibly hurried away from the object to the subject, from the marble personi-
fication of a human figure to the poetical tales of the ancients, from a small
statue to the imaginary display of super-human power and gigantic mightiness.
One of the heroes of a class of giants, or Titans, who had waged war against
the gods, is shown in the act of falling; as having just received a mortal stroke
from Jove : but in the moment of death, and with the last struggles of a
convulsed frame, he pulls the rock upon himself.
To appreciate the design of this statue, we must refer to the poems of Hesiod
and Ovid, and to other ancient writers; and admitting their fables to be worthy
the illustrations of an English artist, endeavour to ascertain how far Banks' work
fulfils the demands of the impartial and discriminating critic. In execution, it
is allowed that he has been eminently successful. It is placed in the council-
room of the Royal Academy.
J. B.
Djsc 1811.