James Barry, Irish, 1741-1806
Title: The Temptation of Adam
Date: 1767-1770
Medium: Oil on canvas
Dimensions:
199.8 x 152.9 cm
Signed: lower right: Js. Barry Inv.t & Pinx [?]
Credit Line: Presented, Royal Society of Arts, 1915
Object Number: NGI.762
DescriptionThis painting is based on the ninth book of John Milton’s epic poem Paradise Lost. It represents the moment when Eve confesses to Adam that she has been tempted and has sinned. Adam slumps in dismay against an embankment, as Eve leans forward, gazing at him earnestly. The leaves of the apple that Eve has coaxed Adam to bite cover his genitals, symbolising the shame that they are both to experience having disobeyed God’s decree.
The strikingly smooth, idealised figures are influenced by Hellenistic sculpture which Barry had studied with great dedication in Italy. Barry attended the Dublin Society’s Drawing School briefly before leaving for London in 1764. Two years later he travelled to Rome, where he immersed himself in the study of antiquities and Old Master paintings. This picture recalls the work of Titian, particularly in the way the figures are illuminated while peripheral elements are cast in shadow. Several iconographical details refer to the contrast between good and evil. The serpent, forbidden fruit and lion in the distance denote the latter, while the bunch of grapes on the right symbolises the Eucharist, and the gourd in the foreground Christ’s Resurrection.
March 2016
The strikingly smooth, idealised figures are influenced by Hellenistic sculpture which Barry had studied with great dedication in Italy. Barry attended the Dublin Society’s Drawing School briefly before leaving for London in 1764. Two years later he travelled to Rome, where he immersed himself in the study of antiquities and Old Master paintings. This picture recalls the work of Titian, particularly in the way the figures are illuminated while peripheral elements are cast in shadow. Several iconographical details refer to the contrast between good and evil. The serpent, forbidden fruit and lion in the distance denote the latter, while the bunch of grapes on the right symbolises the Eucharist, and the gourd in the foreground Christ’s Resurrection.
March 2016
ProvenanceChristie's, 1807, Artist's Sale, lot 119; bought by Richard Horsman Solly; presented to the Society of Arts, London, 1834; on loan to the Victoria and Albert Museum, London from 1856; presented, Royal Society of Arts, London, 1915
Exhibition HistoryRoyal Academy of Arts, London, 1771
Dublin Exhibition of Arts, Industries & Manufactures (Loan Museum of Works of Art), Palace of Fine Arts, Dublin, 1872
International Exhibition, Cork, 1902
Irish International Exhibition, Dublin, 1907
Summer Exhibition, Whitechapel Art Gallery, London, 1913
James Barry, the Artist as Hero, Tate Gallery, London, 1983
James Barry, 1741-1806, The Great Historical Painter, Crawford Art Gallery, Cork, 22 October 2005 - 4 March 2006
Dublin Exhibition of Arts, Industries & Manufactures (Loan Museum of Works of Art), Palace of Fine Arts, Dublin, 1872
International Exhibition, Cork, 1902
Irish International Exhibition, Dublin, 1907
Summer Exhibition, Whitechapel Art Gallery, London, 1913
James Barry, the Artist as Hero, Tate Gallery, London, 1983
James Barry, 1741-1806, The Great Historical Painter, Crawford Art Gallery, Cork, 22 October 2005 - 4 March 2006
Label TextThis painting, based on John Milton's epic poem Paradise Lost, represents the moment when Eve confesses to Adam that she has been tempted and has sinned. The smooth, idealised figures are influenced by Hellenistic sculpture, which Barry had studied assiduously in Italy. This picture recalls the work of Titian, particularly in the way the figures are illuminated while peripheral elements are cast in shadow. Several iconographical details, including the serpent, forbidden fruit and lion in the distance refer to the conflict between good and evil, while the grapes and a gourd symbolise the Eucharist and Christ’s Resurrection respectively.