A May Madrigal by Robert Bateman (1842–1922). Watercolour and gouache on paper; 10 ⅝ x 15 9/16 inches (27 x 39.5 cm). Private collection.
A madrigal is a type of secular vocal piece for several voices, most typical of the Renaissance period. Bateman’s A May Madrigal is very much a “Poetry Without Grammar” composition even though it was never exhibited at the Dudley Gallery. The subject was inspired by Italian Renaissance paintings, such as the Fête Champêtre at the Louvre now attributed to the young Titian, but in Bateman’s time to Giorgione. Bateman likely would have seen the painting when he travelled to Paris in 1867. Other influences could include Antoine Watteau’s series of Fête galantes or more recently early Aesthetic Movement paintings like Edward Burne-Jones’ An Idyll of 1862.
Bateman’s composition features a male youth with a lute singing to his beloved who is seated propped up against a tree listening contemplatively. She wears a crown of white flowers and leaves in her hair, the flowers of which are likely to have symbolic meaning in the language of flowers. A similar wreath hangs from the tree to her left while a wreath of laurel leaves, symbolic of a poet, hangs from a coniferous bush to the lower left of the composition. The lovers have both brought stringed musical instruments. Hers, which is propped against a tree, is possibly a rebec.
Love is obviously the focus of this picture because Cupid figures prominently in the composition. He can be seen lying down across the stream, his bow and magic arrow in his hand, as he prepares to shoot the lovers in the foreground. Cupid can also be seen standing in a boat on the river and pointing an arrow at another couple. In addition in the book of poetry close to the right arm of the reclining young man is an illustration of the figure of Love. A bluebird in a tree to the left figures prominently in the composition. A bluebird can be symbolic of joy and hope and in some cultures around the world of fertility. The dress of the young woman is also blue, and Cupid has a blue cloth draped about him, which may also convey symbolic meaning.
The background is a very typical “Poetry Without Grammar” landscape, again influenced by similar landscapes in the work of Edward Burne-Jones such as his Green Summer. The model for the young woman is supposedly Rose Isabella Susan Preston who Bateman was said to be in love with but she refused him and instead married Lt.-Col. Charles Ughtred Shuttleworth on September 21, 1869. Bateman gave her this painting as a wedding gift. This was obviously a very personal piece for Bateman related to his unrequited love for Rose Preston and therefore another example of his paintings of tragic love stories.
Bateman based his wood cut illustration of “Summer,” for A Plea for Art in the House by W. J. Loftie published in 1876 on page 41, very closely on A May Madrigal.
Bibliography
Nineteenth Century and Impressionist Art. London: Bonhams (September 21, 2022): lot 48.
Last modified 17 February 2023