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One of the most important and interesting paintings
in Woodmere Art Museum’s Permanent Collection, The Fatal Wounding
of Sir Philip Sidney possesses the drama and theatricality typical
of Benjamin West’s mature history paintings. West, who was born on
the property of what is now Swarthmore College, rose from rural Pennsylvania
limner to successor to Sir Joshua Reynolds as second president of
the Royal Academy in London, England. His is truly one of the great
success stories in all of art history. Upon becoming one of the most
prominent and prolific painters of 18th-century England, West was
besieged by commissions from wealthy patrons. One such patron was
Alexander Davison of St. James Square, London, a ship-owner and government
contractor, who engaged West, along with seven other artists, to paint
any subject of his choice from English history. Only one provision
was imposed, that he include his own likeness in the composition.
His visage is the balding man at the right margin of the painting,
leaning on a horse and observing the action. Center stage is, of course,
the dying Sir Philip Sidney (1554-1586), with outstretched arm. Sidney
was a famous British statesman, poet, and sometime soldier. Here he
is seen mortally wounded in the battle against Spanish forces at Zutphen
in the Netherlands. The imposing figure in dark armor on horseback
above him is his uncle, the Earl of Leicester. Sidney’s white, wild-eyed
steed adds to the dramatic diagonal sweep penetrating the other wise
dark composition. |
