![Thomas Rowlandson — The Sculptor [Preparations for the Academy, Old Joseph Nollekens and his Venus] (ca. 1800, Met-Objekt 4273)](https://oldart.vernisio.com/archiv/Thomas_Rowlandson/Thomas_Rowlandson_The_Sculptor_Preparations_for_the_Academy_Old_Jose_ca._1800_gross.jpg)
The Sculptor [Preparations for the Academy, Old Joseph Nollekens and his Venus] (ca. 1800, Met-Objekt 4273)
Original title: The Sculptor [Preparations for the Academy, Old Joseph Nollekens and his Venus]
kurzbeschreibung
Made around 1800, this hand-coloured etching by Thomas Rowlandson presents the British sculptor Joseph Nollekens at work on a figure. Across its 28.5 × 21.8 cm, the sheet pairs a studio scene with a satirical edge.
Description
A man in a green jacket and white shirt has settled onto a stool in the foreground and is attacking a sculpture. Close beside him a naked woman rests on a plinth, her gaze turned toward the sculptor. Further back, other figures can be made out, among them a statue holding a shield, one with a harp, and a person with a child. Tools and materials fill the room and point to the workshop. Greys and browns dominate the palette, with the green jacket striking an accent in between, as does a patch of pink on the woman's forehead.
Context
Joseph Nollekens (1737–1823) ranked among Britain's most sought-after sculptors and was known both for portrait busts and for idealised figures. Rowlandson likely took aim at him here for his proverbial stinginess and his working methods. The print dates to around 1800, a period when the Royal Academy in London counted as the centre of artistic training. Rowlandson often issued such etchings as single prints for a broad public.
Impact
The exaggerated facial features and the sculptor's comic posture make the picture amusing while still keeping the viewer at a certain distance. An ironic tension arises between the idealised nude statue and the everyday life of the studio. Strong outline strokes and the restrained colouring lend the sheet a lively, almost theatrical presence.
Technique
The print was produced as an etching and afterwards coloured by hand. That method allows fine linear hatching that complements the pastel-like washes of colour. The paper has been trimmed to 28.5 × 21.8 cm, which suggests publication as a single sheet.
AI-generated description text
Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)