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. The influence of these great works can clealy be seen in Comedy and Tradgedy one of his most popular bronzes, yet his version shows a development from these pieces, incorporating their spirit with Gilbert's own independent style.
The composition of Comedy and Tragedy is autobiographical, Gilbert felt the
outside world only saw his exterior, the successful sculptor, while underneath simmered the problems of family, debts and patrons. First concieved in 1891 it is Gilberts homageto Giambologna, drawing heavily on the master in its mannerist contraposto form, the image is that of a prop boy carrying a comic mask turning in pain as he is stung by a bee. Gilbert felt that he in turn presented a happy mask to the world while his inner turmoil and financial struggles are reflected in the pain of the sting.
Cast in just two sizes this is an example of the smaller version.
Literature
Richard Dorment, Alfred Gilbert, p.131.Royal Academy catalogue. pp.116-118
