DEATH OF THE VIRGIN, 1931
Oil on canvas. 77 x 51½in. (195.6 x 130.8cm.)
Signed and dated.
Provenance
Sotheby’s studio sale, London, 24th April 1985, lot 547. Illustrated in b/w in the catalogue.
Exhibited
London, New English Art Club, 1933, No. 52.
London, Whitechapel Art Gallery, 1935, No. 16.
Cheltenham, Cheltenham Municipal Gallery, 1936, No. 1.
London, Parkin Gallery, 1977 No. 7.
The Bible is silent about the circumstances of the death of the mother of Jesus. Most of the many depictions of her death in Western art depict her Assumption and coronation in heaven. According to the doctrine of the Dormition, Mary went to heaven in her sleep, retaining her corporeal body.
Standing at just over six feet tall, this is an imposing work.
The virgin, depicted as a young woman, reclines in bed surrounded by figures, all of whom are in modern dress. One mops her brow, two are at prayer and a fourth, a bearded man, slumps on the floor at the foot of the bed. The bedchamber is set into an alcove which is barely deep enough to contain the bed. Entrance to the alcove is through an opening in the wall rather than through a doorway and gives the events a distinctly theatrical atmosphere whilst retaining a sense of intimacy.
Colquhoun exhibited twice with the New English Art Club although she was never a member. She exhibited in 1931 and 1932 – not, as recorded in the clubs’ catalogue raisonne (de Laperriere, 2002) in 1930 and 1932. The NEAC was founded in 1885 by a group of painters who were dissatisfied with the stolid academic approach of the Royal Academy. There were strong links between the Slade School and the NEAC. Tonks, for example, was a member and regular exhibitor before becoming professor at the Slade. The club was particularly strong on figurative work.
Two preliminary sketches are at TGA 929/4/6.
Reference
DeLaperriere, Charles B. The New English Art Club Exhibitors 1886-2001. Volume 1 A-D. Hilmarton Manor Press, Calne, 2002.