PERSEUS ARMING

Sir Alfred Gilbert created one of London's most famous monuments, Eros in Piccadilly Circus and was one of the most original and ambitious sculptors of the Victorian era. Born in London in 1854, he was the eldest son of a professional musician. He studied in London, Paris and Rome and on his return to England became instantly popular receiving public, private and Royal commissions.

Gilbert became the foremost sculptor of his day. Sadly his artistic temperament and inability to pander to the whims of his clients stopped his great talents from being translated into monetary success and in 1901 he declared himself bankrupt, exiling himself to Bruges for the next twenty-five years. In 1926 however, he returned to execute the marvellous memorial to Queen Alexandria at Marlborough Gate in London, in the voluptuous swirling rhythms of the Art Nouveau style. He was knighted on the completion of the memorial in 1932.

Gilbert's greatness as a sculptor can be seen in the combination of neo-renaissance and romantic styles, combining the twisting forms of the former, with charming subject matter, so popular with the pre-Raphaelite painters of the latter. One of the favorite subject matter of these were stories from Greek mythology such as Perseus.

The Greek mythology of Perseus is a favourite among poets and artist alike. Perseus was half man and half god; his mother was Danae a mortal who was seduced by the God Zeus. His life was full of many brave and exciting stories, including his slaying of the Gorgon, Medusa. Medusa had the ability to petrify anything with her gaze, but Perseus had a polished shield that he brought up in front of his face as protection against her petrifying gaze. In this way he was able to slay the Gorgon without being turned to stone in the process. One of the many sons of the amorous Zeus, he also saved the beautiful Andromeda from a sea monster, in exchange for her hand in marriage. Gilbert uses this Apollo like youth influenced by the sculptors of the renaissance from hundreds of years before.

Gilbert's visit to Florence from his base in Rome in 1879, introduced him to the great bronzes of the Renaissance, in particular Donatello's David and Cellini's Perseus. Gilbert's version shows a move from these pieces, incorporating their spirit with his own independent style. Gilbert claimed that it was not homage to these works but a critique. “Amazed as I was by that great work (Cellini), it still left me somewhat cold, insomuch that it failed to touch my human sympathies”. What Gilbert supposed is that it didn't include enough of the artist's soul. He said he was trying to capture his feeling at the time, which mirrored Perseus. Perseus is in the brief moment between man and myth; he is a man just about to prove his worth. He looks back to ensure he has all of the tools he needs. Gilbert claimed that he was “writing my own history by symbol”.

Perseus Arming was commissioned by Sir Henry Doulton and was first exhibited at the Grosvenor Gallery in 1882; critically acclaimed, it set the young twenty-eight year old sculptor on his path to becoming an A.R.A. in 1886.

Literature

Susan Beattie, The New Sculpture, Yale University Press, London 1985, chapter 6 "The Search for a New Aesthetic", Perseus illus. plate 129
The Fine Art Society, Gibson to Gilbert - British Sculpture 1840-1914, Exhibition 2 June-2 July 1992, London, p 53-55, Perseus illus. plate 24
Isabel McAllister, Alfred Gilbert, A & C Black Ltd, London 1929, Perseus reference p.55-57 and illus. p.24
M H Speilmann, British Sculpture and Sculptors of To-day, Casell and Co Ltd, London, Paris, NY and Melbourne, 1901, p 75-85, Perseus illus. p 78
Michael Forrest, Art Bronzes, Schiffer Publications, Pennsylvania 1988, p 322
The Fine Art Society, British Sculpture 1850-1914, Exhibition 30 September-30 October 1968, London, p 24-25, plates 57-81 and cover, Perseus illus. pl 58
Jeremy Cooper, 19th Century Romantic Bronzes, David and Charles, London, 1975, p 70-75, Perseus illus. p 70