The Return from Calvary by Herbert Gustave Schmalz (1856-1935). Signed "Herbert Schmalz" (lower left). Oil on canvas. 193 x 279 cm (76 x 109 13/16 in). Described by Bonham's as a larger version of a work of 1891, also shown on their site, measuring 89 x 129cm (35 1/16 x 50 13/16in). Reproduced here by kind permission of the auction house. [Click on all the images to enlarge them.]
The Illustrated London News discussed the original painting in a review of the works on display at Dowdeswell's Gallery in the winter of 1891, impressed even then by its size as well as its concept, and by the "principal group," especially St John's head and attitude. The reviewer writes,
Mr. Herbert Schmalz’s large picture of "Cavalry," upon which he has been engaged for so many months, is also to be seen at Messrs. Dowdeswell's. It is a "gallery work" of more than usual dimensions, in which the figures in the foreground are of life size. The principal group, representing St. John leading to his own house the bereaved Virgin Mother, is composed with dignity and effect. The Virgin, broken down by suffering and fatigue, can scarcely advance, notwithstanding the care of the Beloved Disciple and the helpful aid of the Magdalen. Behind them, mounting the steep path, come Mary the wife of Cleophas, and Elizabeth. The figure of St. John, which is here reproduced, is quite the most effective bit of painting in the canvas. He has turned round, and is now looking back over the city, which lies in the hollow, to the other mount, on which three crosses stand out in cold relief against the streaks of light which still illumine the western sky. In the streets below the surging crowd is flowing back from the awful scene which has just been enacted, noisy, turbulent, and careless. In the centre of the city with its castle-like houses and fortified stands the palace of Herod, where the lights are already blazing, while in gloom, to the left, the square towers of Herod's temple may be descried.
Engraving of St John's head, the centrepiece of the page
of
"Art Notes" which includes this review.
The reviewer goes on to evince some general dissatisfaction with the work on various grounds, before reaching a final verdict: "It would be easy to find fault with Schmalz's work from the historical, the topographical, and artistic point of view; but it must be admitted that he has produced a picture which, while it will lead to much controversy, must at the same time attract notice and arouse interest in the most momentous event in the world's history." Whatever its shortcomings, then, The Return from Calvary was seen as ambitious in scale, moving in its delineation of the Biblical episode, and effective as a piece of Christian art. That the latter, in particular, accounted for its huge public appeal is confirmed by another contemporary art critic. This was Austin Chester, who reported in the Windsor Magazine that the Bishop of Jerusalem and the East, Dr. Popham Blyth, was greatly impressed by Schmalz's work: "never before has this subject been treated in so comprehensive and complete a manner, with all the human sympathy which it has continued to draw forth, and which will ever centre in it" (708). Chester added that another important cleric, the Rev. Dr. Joseph Parker, of the City Temple, had also commented on the great influence that Schmalz's religious paintings exerted. On one occasion when this one was being shown, for instance, the roomful of gallery visitors burst into spontaneous hymn-singing, "the picture being apparently all they needed to inaugurate a revival meeting" (709).
Details. Left: The three figures on the right. Right: The three crosses on Calvary, in the distance.
The stamp of royal approval was given by the Queen herself: in her diary for 13 December 1891 she described The Return from Cavalry as "very striking" and "very finely painted," and Chester mentions that she purchased an engraving of one of Schmalz's religious paintings, although he does not say which one. Later she would also comment admiringly on Schmalz's Rabonni, in which Jesus appears to Mary Magdalene, calling it a "very fine picture" (26 November 1896).
Thanks to Bonhams for sharing this image with the Victorian Web; copyright of course remains with them, and readers might wish to consult their site for information about sales and catalogues.
Bibliography
"19th Century and British Impressionist Art / Herbert Gustave Schmalz (British, 1856-1935): The Return from Calvary." Bonhams. Web. 31 August 2024.
"Art Notes: Messrs Dowdswell's Gallery." Illustrated London News. Vol. 99. (7 November 1891): 600. Internet Archive. Web. 31 August 2024.
Chester, Austin. "The Art of Mr. Herbert Schmalz." The Windsor Magazine (1895): 701-15. Internet Archive, from a copy in the University of Michigan Library. Web. 31 August 2024.
Created 31 August 2024