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"Large Lion" shows a monumental lion staring directly at the viewer. Barye places the animal against an expansive landscape and an almost surreal orange sunset. This watercolor demonstrates well Barye's idiosyncratic technique of building up his surfaces in a manner similar to the way he built up clay in his sculptures. The analogy between his watercolors and sculptures was noted by several contemporary commentators. Philippe Burty, for example, likened his watercolors to "painted low reliefs," ("Ventes d'Aquarelles, de Dessins et de Tableaux," Gazette des Beaux-Arts, February 1, 1859). Here, Barye uses a scraper to render the whiskers and mane of the lion in a "sgraffito" technique, while his fingerprints are discernible in a passage of pink watercolor at top right.
Page data
- Page
- 2
- Source index
- 0
- Type
- photo
- Media ID
- 6cd3ccfd9216efc3
- Size
- unknown
Document data
- ID
- 1550
- Core
- obj
- Type
- drawing
DTO data
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"sourceUrl": "https://purl.thewalters.org/art/37.827",
"contentType": "drawing",
"stage": "normalized",
"title": "Large Lion",
"description": "\"Large Lion\" shows a monumental lion staring directly at the viewer. Barye places the animal against an expansive landscape and an almost surreal orange sunset. This watercolor demonstrates well Barye's idiosyncratic technique of building up his surfaces in a manner similar to the way he built up clay in his sculptures. The analogy between his watercolors and sculptures was noted by several contemporary commentators. Philippe Burty, for example, likened his watercolors to \"painted low reliefs,\" (\"Ventes d'Aquarelles, de Dessins et de Tableaux,\" Gazette des Beaux-Arts, February 1, 1859). Here, Barye uses a scraper to render the whiskers and mane of the lion in a \"sgraffito\" technique, while his fingerprints are discernible in a passage of pink watercolor at top right.",
"provenance": "Barye Sale, Hôtel Drouot, Paris, February 7-12, 1876, lot 166; Hector Brame (1831-1899), Paris; William T. Walters, Baltimore, January 27, 1887, by purchase [George A. Lucas as agent]; Henry Walters, Baltimore, 1894, by inheritance; Walters Art Museum, 1931, by bequest.",
"date": "early 1830s",
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Context sent to Scholar
Document identity
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Document source metadata
{
"id": "1550",
"sourceUrl": "https://purl.thewalters.org/art/37.827",
"contentType": "drawing",
"stage": "normalized",
"title": "Large Lion",
"description": "\"Large Lion\" shows a monumental lion staring directly at the viewer. Barye places the animal against an expansive landscape and an almost surreal orange sunset. This watercolor demonstrates well Barye's idiosyncratic technique of building up his surfaces in a manner similar to the way he built up clay in his sculptures. The analogy between his watercolors and sculptures was noted by several contemporary commentators. Philippe Burty, for example, likened his watercolors to \"painted low reliefs,\" (\"Ventes d'Aquarelles, de Dessins et de Tableaux,\" Gazette des Beaux-Arts, February 1, 1859). Here, Barye uses a scraper to render the whiskers and mane of the lion in a \"sgraffito\" technique, while his fingerprints are discernible in a passage of pink watercolor at top right.",
"provenance": "Barye Sale, Hôtel Drouot, Paris, February 7-12, 1876, lot 166; Hector Brame (1831-1899), Paris; William T. Walters, Baltimore, January 27, 1887, by purchase [George A. Lucas as agent]; Henry Walters, Baltimore, 1894, by inheritance; Walters Art Museum, 1931, by bequest.",
"date": "early 1830s",
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Document source extras
{
"inscriptions": [
"\"\"Barye\"\" at lower left edge in red watercolor; \"\"63\"\" in graphite",
"verso; \"\"G. Lucas\"\" in graphite",
"verso; \"\"Vente Barye\"\" on reverse of original mounting",
"red wax seal; \"\"444\"\" in crayon on reverse of original mounting"
],
"med": "watercolor and scraping on beige, thick, smooth wove paper",
"creator_ids": [
"6082"
],
"collection_ids": [
"EAN"
],
"exhibition_ids": [
"300",
"631",
"2069",
"432",
"3300"
]
}
Page context
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