Poppy Harvey-Jones
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Lot 104TP
Roman Schoolfirst half of the 17th CenturyDiogenes
5 July 2017, 14:00 BST
London, New Bond Street£30,000 - £50,000
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Roman School, first half of the 17th Century
Diogenes
bears initials 'SR' (on rock, lower left)
oil on canvas
114.8 x 166cm (45 3/16 x 65 3/8in).
bears initials 'SR' (on rock, lower left)
oil on canvas
114.8 x 166cm (45 3/16 x 65 3/8in).
Footnotes
Provenance
Private Collection, Italy
Diogenes, the Greek philosopher was one of the founders of the branch of philosophy known as cynicism. Diogenes was exiled from his birthplace of Sinope after adulterating the currency on the suggestion of the Oracle at Delphi. He later established that what the Oracle meant was to challenge the established customs and values rather than the actual monetary currency. To this end he made it his life's endeavour to offend and criticize customs and protocol by being deliberately obscene. He is also known to have made a virtue of his poverty and showed a disregard for material things. One of his most famous depictions is him discarding his cup after seeing a young boy drinking with his hands proclaiming 'A child has beaten me in plainness of living'.
While Diogenes is believed to have authored over ten books and seven tragedies, none of these has survived. His quotes, anecdotes and details of his life are known from the writings of his contemporaries such as Plato. This painting of Diogenes painted by an unknown artist of the Roman school from the first half of the 17th century assimilates various aspects of Diogenes. He is dressed in simple plain dark coloured robes to symbolise his preference for poverty. At his feet as he is walking away are some jugs, bowls and cups that appear abandoned, the leaving behind of the material trappings of life. Believed to have lived till the age of 90, Diogenes is generally depicted as an old man. The dark and foreboding landscape could be metaphors for his exile but also his philosophies as a cynic. Here, Diogenes is shown holding a book on which is inscribed 'lodiamo il fine' ('we praise the end'), an apt choice of words by the painter to illustrate a man who thought so little about life, death and the correct treatment of the dead.