- Identification and Creation
- Object Number
Manufactured by Wedgwood, British (founded 1759 )
After James Tassie, British, English (Pollokshaws, Scotland 1735 - 1799 London, England)
- The Dipping of Achilles
- Other Titles
- Alternate Title: The Immortalization of Achilles
- Medals and Medallions
- Work Type
- late 18th century
- Creation Place: Europe, United Kingdom, England, Etruria
Level 3, Room 3500, Special Exhibitions Gallery
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- Physical Descriptions
- White jasperware body with blue glaze back and front surmounted by green jasperware border; figures and decoration in white relief
- 6.6 cm diam. x 0.3 cm depth (2 5/8 x 1/8 in.)
- Inscriptions and Marks
- manufacturer's mark: verso, impressed: WEDGWOOD / H
- inscription: verso, graphite, handwritten: 12876
- inscription: verso, graphite, handwritten: ?
- Anthony Bower, Liverpool, England. [Frederick Rathbone, London], sold; to Grenville Lindall Winthrop, New York, NY, July 25, 1913, bequest; to Fogg Art Museum, 1943.
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop
- Accession Year
- Object Number
- European and American Art
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Label Text: 32Q: 2220 18th-19th Century , written 2015
The Legacy of Antiquity
In 18th-century Europe, the rediscovery of the ancient Roman cities Herculaneum and Pompeii sparked new interest in the Classical world, with artists eagerly responding in various ways. Painters like Hubert Robert frequently produced scenes that intertwined fantasy and historical elements. In his drawing on view, Robert inserted the famous ancient statue Farnese Hercules into a landscape setting to produce a Roman capriccio, a kind of whimsical composition highly sought after by collectors.
At the same time, artisans and craftsmen added their own handiwork to ancient artifacts. For example, the ring seen here includes a Roman intaglio gem (first to second century CE) set in a modern gold hoop. Josiah Wedgwood took this practice a step further by manufacturing jasperware medallions bearing Classical portraits or designs in relief.
Some artists were more cynical about the new taste for the antique. In his 1753 treatise The Analysis of Beauty, William Hogarth critiqued connoisseurs who praised the indiscriminate copy of ancient art. In the engraving on view, which was included in the treatise, a grotesque figure wearing a large wig and a skirt is measuring copies of famous sculptures from antiquity.
[G1841, G259, 1910.12.1.1-114, 1943.1385, 1943.1176, 1943.1223, 1963.45.3, 1960.637, 1910.79, 1983.22, 1986.559, 1956.250]
- Publication History
Old Wedgwood from the Bequest of Grenville Lindall Winthrop, exh. cat., Fogg Art Museum (Cambridge, MA, 1944), no. 23, p. 17
Jonathan Shaw and Jennifer Carling, "The Lost Museum: Teachings of the Philosophy Chamber, Recreated", Harvard Magazine (Cambridge, MA, 2017), pp. 42-49, p. 45
Ethan Lasser, ed., The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820, exh. cat., Harvard Art Museums (Cambridge, MA, 2017), p. 107, Plate 43b; p. 127, Plate 63 (contents of cabinet); p. 140 (detail); pp. 152-157 in Jennifer L. Roberts's "Submergence"
- Exhibition History
Old Wedgwood from the Bequest of Grenville Lindall Winthrop, Fogg Art Museum, Cambridge, 06/04/1944 - 09/03/1944
32Q: 2220 18th-19th Century, Harvard Art Museums, Cambridge, 11/19/2015 - 05/05/2016
The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820, Harvard Art Museums, Cambridge, 05/19/2017 - 12/31/2017
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