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Supporting museums Art we've helped buy Bust of Thomas Howard, Earl of Arundel
Bust of Thomas Howard, Earl of Arundel Bust of Thomas Howard, Earl of Arundel

Bust of Thomas Howard, Earl of Arundel

François Dieussart

Art Funded
1987
Dimensions
115 cm
Vendor
Neville Howard, Greystoke Castle
This bust is comparable in sculptural terms with the portrayal of the Earl of Arundel by Rubens and Van Dyck in its vigorous characterisation and bold use of drapery.

It also reflects developments in portrait sculpture under Bernini and is the most advanced piece of baroque classicism executed in England. It bears a strong resemblance to the Imperial prototypes of the bearded and mantled Marcus Aurelius and Septimus Severus. The deep undercutting and drilling of the hair and collar, and the deeply pouched eyes are characteristic of Dieussart's work. This large-scale bust may well have been intended for the galleries at Arundel House.

Provenance

Neville Howard, Greystoke Castle.

Marble

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Nominally inspired by Lucretius' De rerum natura, Piero di Cosimo's The Forest Fire takes its scientific subject and embellishes it with fantastical creatures from the artist's imagination: Bulls, bears, lions and deer-like creatures with human faces all flee wearily from a fire.

Rubens' portrait of Thomas Howard, 2nd Earl of Arundel dates from about 1629. The Earl was a great collector, and Rubens had painted the earl's wife a few years earlier on a visit to Antwerp. This drawing in pen and ink with a chalk base is unusually informal, reflecting perhaps the comfortable relationship between artist and patron.

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Jeff Koons, Seated Ballerina, 2010-15

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Image credit

1 . Bust of Thomas Howard, Earl of Arundel

© Ashmolean Museum

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