
plate no. 2335
Simeon Solomon, 1864
From the record
from the sources
The painting is an 1864 watercolour on paper by Simeon Solomon. en.wikipedia.org
“Sappho and Erinna in a Garden at Mytilene is an 1864 watercolour painting on paper by Simeon Solomon.”
The painting has been in the Tate Britain collection since it was bought at auction in 1980. en.wikipedia.org
“It has been in the collection of Tate Britain since it was bought at auction in 1980.”
The painting shows Sappho and Erinna seated on a stone bench in a garden in Mytilene on Lesbos. en.wikipedia.org
“They are seated on a stone bench with a high curved back amid the foliage of a garden in Mytilene, on the island of Lesbos.”
Sappho is shown leaning in to embrace Erinna, with their faces gently touching. en.wikipedia.org
“Sappho leans in to embrace Erinna, their faces gently touching.”
The date and Solomon's signature appear in the lower right corner as a stone inscription using two Greek sigmas. en.wikipedia.org
“The date and Solomon's signature as two Greek sigmas are portrayed as a stone instruction, "ΣΣ / 2.64", in the lower right corner.”
James Leathart bought the painting, and his executors auctioned it in 1897 after his death in 1895. en.wikipedia.org
“After Leathart's death in 1895, the painting was auctioned by his executors in 1897.”
The painting later passed to Solomon Golding and was sold by his son Jessel Golding at Sotheby's in 1980, when the Tate bought it. en.wikipedia.org
“It later came into the collection of Solomon Golding, and was sold by his son Jessel Golding at Sotheby's in 1980, when it was bought by the Tate.”
Solomon was inspired by Swinburne's writing on Sappho, including the poem Anactoria, when making the work. en.wikipedia.org
“Inspired by the writing on Sappho by Algernon Swinburne, including Swinburne's poem Anactoria, Solomon believed Erinna to have been a companion of Sappho on Lesbos during the late 7th century BC”
approach — 8 steps
Create a light pencil sketch outlining the main figures, architecture, and background elements.
Establish the base tones for the skin, drapery, and background using diluted washes of watercolor.
Build up the shadows and highlights on the figures and drapery to define form and volume.
Add details to the faces, hair, and clothing, paying attention to the folds and textures.
Paint the background elements, such as the garden, architecture, and statue, using a variety of greens, browns, and grays.
Use gouache to add highlights and opaque details, such as the flowers and architectural details.
Refine the overall composition and add any final touches to enhance the painting's atmosphere.
Glaze with thin washes to unify the colors and create a sense of depth.
color palette
primary · rose madder · yellow ochre · ivory black
secondary · ultramarine blue · burnt umber · sap green
Achieve skin tones by mixing rose madder, yellow ochre, and a touch of ivory black. Create variations in the drapery by adding ultramarine blue or burnt umber to the primary colors. Mix greens for foliage by combining sap green with yellow ochre and ultramarine blue.
techniques
common pitfalls
surface · watercolor paper 140lb
required
optional
Use high-quality watercolor paper to prevent buckling and ensure the colors remain vibrant. Experiment with different brush sizes to achieve varying levels of detail.
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