This Pre Raphaelite influenced work depicts a guardian angel holding the hand of a sleeping woman in a cave at night. Next to her lies unravelled scrolls, telling some important news or perhaps her shopping list for tomorrow.
Probably a sketch for a painting, often artists would have to produce a sketch to show a client first to get his approval. The sketch depicts strong outlines of the figures and lacking the final glazes to harmonise them as a finished work would.
Obviously by a well trained artist, the loose, spontaneous character of the sketch and the clearly visible, personal brush strokes give it a strong vigour. The artist creates a fresh and powerful subject, such as the deep sleep of the woman and the thoughtful gaze of the angel.
Angels are often thought to guide people in their sleep and release them from their worldly troubles.
The eighth child and second son of the portrait painter George Richmond, William Blake Richmond was named after his father’s great idol and mentor William Blake, while his godfather was the elder Richmond’s close friend Samuel Palmer. William entered the Royal Academy School in 1857, and in 1860 made the first of several visits to Italy.
The following year he began exhibiting at the Royal Academy. Between 1866 and 1869 Richmond lived and worked in Rome, where he met the Italian landscape painter Giovanni (‘Nino’) Costa, whose studio on the Via Margutta had become a meeting place for English painters visiting the city. Costa became the head of an informal group of English landscapists – including Richmond, George Howard and Matthew Ridley Corbet – who called themselves ‘The Etruscans’, and who found inspiration in sketching trips into the Campagna, guided and encouraged by Costa.
Although Richmond’s lifelong passion for landscape is reflected in the informal oil sketches that remained a constant production of his later career, it was as a portrait painter that he made his mark on his return to England.
One of the finest portrait painters of the Aesthetic movement, Richmond received numerous significant commissions for portraits, notably of William Gladstone and his niece Lady Frederick Cavendish and nephew Lord Lyttelton, Charles Darwin, the Duke of Argyll and the Princess of Wales, among others. He also produced several more informal portraits of such friends as William Holman Hunt, Robert Louis Stevenson, William Morris and Robert Browning.
Demand for his portraits continued throughout his career, and his success as a fashionable portrait painter earned him considerable renown. (Despite these accomplishments, the artist seems to have preferred painting large mythological subject pictures or small landscape oil sketches.
Richmond exhibited at both the Royal Academy and the newly-established Grosvenor Gallery, and in 1879 was appointed Slade Professor of Art at Oxford. He was also active both as a sculptor and designer of stained-glass windows, while throughout most of the 1890s he was engaged on the decoration of the apse and choir of St. Paul’s Cathedral in London with mosaics; arguably the most significant mosaic commission ever received in England.
Reflecting the artist’s close study of Byzantine mosiacs in Rome, Florence, Ravenna and Palermo, the mosaic decoration of St. Paul’s (for which Richmond also designed the stained-glass windows, lost or destroyed in the Second World War) was begun in 1891 and largely completed by 1896, although the last elements were not finished until 1904. In 1900 a major retrospective exhibition of Richmond’s paintings, drawings and sculptures, numbering almost five hundred works, was held at the New Gallery in London.