","citation":"Suzanne E. May, \"Attempts towards Fame and Fortune: Joseph Wright of Derby and late-renaissance Humanism,\" in The British art journal 11 no. 1, (London: The British Art Journal, 2010): p. 41-52. \n
, fig. 10, p. 47 (illus.)","date":2010,"id":965,"uri":"https://www.jstor.org/stable/41615389"},{"boilertext":"\"Recent accessions,\" Record of the Art Museum, Princeton University 7, no. 1 (1948): p. 7.","citation":"\"Recent accessions,\" Record of the Art Museum, Princeton University 7, no. 1 (1948): p. 7., p. 7","date":1948,"id":1862,"uri":"https://www.jstor.org/stable/3774400"},{"boilertext":"Nancy L. Pressly, The Fuseli circle in Rome: early romantic art of the 1770s, (New Haven, CT: Yale Center for British Art, 1979).","citation":"Nancy L. Pressly, The Fuseli circle in Rome: early romantic art of the 1770s, (New Haven, CT: Yale Center for British Art, 1979).","date":1979,"id":5395,"uri":"https://search.worldcat.org/title/5460420"},{"boilertext":"Richard Rosenblum, \"The origin of painting: a problem in the iconography of romantic classicism\", Art bulletin 39, no. 4 (Dec., 1957): p. 279-290.","citation":"Richard Rosenblum, \"The origin of painting: a problem in the iconography of romantic classicism\", Art bulletin 39, no. 4 (Dec., 1957): p. 279-290.","date":1957,"id":5396,"uri":"https://www.jstor.org/stable/3047729"},{"boilertext":"Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007)","citation":"Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007), p. 297 (illus.)","date":2007,"id":474,"uri":"https://search.worldcat.org/title/191864564"},{"boilertext":"Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013)","citation":"Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013), p. 330","date":2013,"id":1994,"uri":"https://search.worldcat.org/title/865020505"}],"nowebuse":"False","periods":[],"department":"Prints and Drawings","attribute_groups":[{"id":2199327,"term":"Prints and Drawings","termtype":"Collecting Area"},{"id":2199321,"term":"European Art","termtype":"Collecting Area"}],"daterange":"A.D. 1700-1800","dateend":1780,"depicted":[],"titles":[{"title":"The Corinthian Maid","titletype":"Published","displayorder":2}],"hasimage":"true","creditlinerepro":"","objectnumber":"x1947-28","inscribed":"in brown ink, on verso: No. 10","texts":[{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"Throughout his career as a fashionable portrait painter, Romney made thousands of drawings of literary and historical subjects, rendered with sweeping ink washes. The subject of this work derives from a legend, recorded by Pliny the Elder, of the Corinthian maiden Dibutade, who traced her sleeping lover’s shadow on the wall before his departure on a long journey—thereby creating an image to remember him by during his absence. This story, which was associated with the origins of the art of painting, became a popular theme with Romantic artists, particularly in England. Here, Romney created a lamplit nocturnal scene with the figures shown in strong profile in a manner reminiscent of Greek vase-painting and low-relief sculpture.","remarks":"K4-6 rotation May 2019"},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"
Martin R. F. Butlin, Tate Gallery, April 1966: “I think by Romney.”;
\r\n
From Pressly, “Fuseli Circle in Rome…”: circa 1775-1780. Romney.” (See reference Bib. 4450);
Kidson, May 2000, notes: “dated 1789 in a pencil inscription on verso but clearly late 70s.”;