Sleeping Shepherd Boy at The Walker Art Gallery, United Kingdom

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John Gibson declared that the Greeks perfected sculpture by emulating Nature's perfection. Their master was solely Nature, guiding them in establishing beauty's standard. John Gibson, a renowned British sculptor of his generation, credited antique art as his primary inspiration throughout his long career. Gibson's artistic journey began under the guidance of William Roscoe, a Liverpool connoisseur and historian who recognized his exceptional talents. However, it wasn't until 1817 that he moved to Rome, where his academic training truly commenced. He studied under Canova (1757-1822) and Thorvaldsen (1770-1844), the most prominent sculptors of their time, drawing from ancient historic and mythological figures for his subject matter. Gibson was well-versed in Neo-classical art theory and closely followed Winckelmann's (1717 -1768) lead. He shared the German's admiration for Greek art's "noble simplicity and calm grandeur" and firmly believed that only by emulating the Ancients could modern artists become great and unparalleled. The Sleeping Shepherd Boy was Gibson's first life-size figure, modeled in Rome under Canova's supervision. This classical subject, a common theme among Roman sculptors at the time, was prevalent due to its timeless appeal. The Venetian master accepted Gibson into his academy upon his arrival in the Eternal City at 27 years old. While copying classical figures at the Vatican and Capitoline Museums initially formed part of his training, he soon progressed to working from live models. Canova advised him to "copy nature, but at the same time, you are working from life; constantly look at the antique; not to model copies from any of the statues, but always examine them carefully until you have gained a perfect knowledge of their principles and are aware of all their perfection." Gibson took this counsel to heart, evident in his Sleeping Shepherd Boy, which marks the beginning of his artistic maturity. The pose was derived from an antique relief encountered in the Capitoline Museum, Seated Endymion sleeping on Mount Latmos, admired as a great master's work. Smoothly-carved surfaces and idealized proportions echo Canova and Thorvaldsen's traditions, yet Gibson's unique sculptural style is already visible. His interpretation of the theme is straightforward and unassuming in scale, but highly competent and not deficient in feeling. Sitting on a tree stump, asleep with his staff leaning on his leg, the entire figure gives an impression of calm and repose. His head tilts toward his left shoulder as he sleeps, part of his cloak draped across his right thigh, modestly covering his nudity. In the sweetness of his expression and detailed depiction of the hair and lamb's fleece covering the tree stump, this portrayal of an anonymous shepherd boy is close in style to a genre piece. Rather than some abstract personification of ideal love or beauty, it resembles a scene from daily life, a boy whose eyes have momentarily closed in sleep, allowing him a brief escape from routine duties. Gibson started working on the plaster model in 1833 and completed three marbles: one for Lord Prudhoe, another for James Lennox of New York, and the Walker's version. The Walker Art Gallery purchased it in 1988 with help from the National Art Collection Fund. The original plaster is held by the Royal Academy. This object is part of "Scan The World", a non-profit initiative by MyMiniFactory to create a digital archive of fully 3D printable sculptures, artworks, and landmarks for public access. Scan the World is an open-source community effort; if you have interesting items around you and would like to contribute, email stw@myminifactory.com to find out how you can help.