Niobe by Solomon J. Solomon

Niobe

Solomon J. Solomon

1988

Oil on canvas

The Studio (1888)

“Mr. Solomon's "Niobe" deserves special attention, as it is professedly painted in reply to those critics who declared that the young artist, brought up in the traditions of the Paris studios, could only succeed where action was violent and where dash of subject diverted attention from composition and execution. He has therefore painted this picture of absolute repose. The deep passion of silent anguish in the mother, and the sentiment inspired by the dead and dying forms of her children around her, are undisturbed by any incident calculated to add to or take from the main subject.” [continued below]

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The impressiveness of the work is sufficient to prove that the painter has accomplished the task he set himself to perform. But apart from colour, drawing, and expression — all of which are of a very high order and worthy of the subject — attention should be paid to the lines of the composition. It will be seen at once that the chief line is pear-shaped, and descends and returns through a very beautiful and somewhat original sweep. Mr. Solomon has been manifestly influenced by our great master of line. Sir Frederick Leighton, not only in the grouping of the figures, but also in the arrangement of the draperies. It appears to the writer that the one weak point in the composition is the hole, so to speak, in the middle of it. But that, after all, is a small fault in so fine a production, and the best of it all is that the artist's power, full of strength and vigour, is still not yet fully developed. He will certainly do much greater things than this, and that at no distant date. — M.H. Spielmann

Bibliography

Spielmann, M. H. “Current Art. The Royal Academy” Magazine of Art. 11 (November 1887-October 1888): 267-72. Internet Archive copy from University of Toronto Libraries. Web. 21 September 2013.

Last modified 21 September 2013