Sir Frederic Leighton, P.R.A. 1830-1896

Given by the artist to Viscount Powerscourt;
H. Bowley;
Christie’s, London, 18 October 1974, lot 140 (bought Mitchell);
John Mitchell & Sons, London;
Private collection

Alice Corkran, Leighton, 1904, p.104;
Ernest Rhys, Frederic Lord Leighton – An Illustrated Record of his Life and Work, 1904, p.38;
Mrs Russell Barrington, Life, Letters and Work of Frederic Leighton, two volumes, 1906, II, p.387;
L. and R. Ormond, Lord Leighton, 1975, pp.128, 264; cat. no.250

This charming and elegant painting shows a young female model standing three-quarter length against a dark background. Her face is seen in profile, with her eyes downcast. Her hands are clasped together and her arms rest easily in front of her. The stance that the model has been given by the artist is one of easy relaxation and calm. Nothing distracts the girl in her quiet meditation; nor is any indication given as to her mood. The composition is beautifully pared down, being free of all incidental detail or anecdotal association, nor is any information given about the identity or personality of the sitter. Thus the painting lends itself to a purely aesthetic response, allowing the spectator to take delight in the softly-lit physiognomy and hands, the colour of her necklace and the gold braiding of her dress, and the beautiful colours and textures of her garment.

Paintings of this type were undertaken by Leighton as exercises in colour and form, for their own sake. He only occasionally painted formal portraits, finding the engagement with and demands made by the subject taxing, and always being on guard against allowing the demands of portrait commissions to interrupt work on larger paintings. Paintings of unidentified models allowed complete artistic independence, and gave free reign to the artist’s inventiveness and love of rich patterning and colour. Works of this kind were, however, more than purely personal undertakings. Leighton regularly sent paintings of anonymous models (in this case the title is probably his own invention rather than the girl’s real name, and is intended simply to support the peaceful atmosphere of the composition) to exhibitions at the Royal Academy.

Serafina was bought by Viscount Powerscourt, a friend of the artist and at whose house, Powerscourt, near Eniskerry, in the Wicklow Mountains, Leighton had stayed. Among Lord Powerscourt’s other purchases from Leighton was Crenaia (The Nymph of the Dargle) (private collection).
CSN