{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O75784"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O75784/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2006AR0241/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2006AR0241/","_alt_iiif_image":[],"imageResolution":"low","_images_meta":[{"assetRef":"2006AR0241","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2019LX1596","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":null},"record":{"systemNumber":"O75784","accessionNumber":"P.5-1960","objectType":"Tempera painting","titles":[{"title":"Dux et Comes IV","type":"assigned by artist"}],"summaryDescription":"Edward Alexander Wadsworth (1889-1949) was a leading member of the Vorticists, signing the manifesto of that movement in the publication <i>Blast</i> in 1914. Vorticism was a style of strong solid forms and bursting energy that aimed to drive out all traces of the Victorian age. This painting is in tempera, a denser form of watercolour. The title is in Latin and may be translated as 'Leader and follower'. It is one in a series of paintings.","physicalDescription":"Tempera painting","artistMakerPerson":[{"name":{"text":"Wadsworth, Edward Alexander","id":"A5474"},"association":{"text":"artist","id":"AAT25103"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"tempera","id":"AAT15062"},{"text":"canvas","id":"AAT14078"}],"techniques":[{"text":"painting","id":"x30598"}],"materialsAndTechniques":"Tempera on canvas","categories":[{"text":"Paintings","id":"THES48917"}],"styles":[{"text":"British School","id":"x30967"}],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2006AR0241","2019LX1596"],"imageResolution":"low","galleryLocations":[{"current":{"text":"68","id":"THES49730"},"free":"","case":"WS","shelf":"","box":""}],"partTypes":[[{"text":"Tempera painting","id":"x40000"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"England","id":"x28826"},"association":{"text":"painted","id":"x30138"},"note":"probably"}],"productionDates":[{"date":{"text":"1932","earliest":"1932-01-01","latest":"1932-12-31"},"association":{"text":"painted","id":"x30138"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"38.4","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"58.4","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"Dimensions according to 2018 report: H:385 x W:535 x D:5 mm","marksAndInscriptions":[],"objectHistory":"Purchased from the artist's widow, 1960\n\nHistorical significance: Edward Wadsworth (1889-1949) attended the Slade School of Art between 1909 and 1912. He became a leading member of the short-lived but radical Vorticist group, founded in 1914 by Percy Wyndham Lewis, which aimed to be a English equivalent to contemporary European developments in art - Cubism, Futurism and Expressionism. During this period Wadsworth's work was uncompromisingly abstract, composed of hard-edged diagonal shapes derived from mechanised forms. However, Vorticism did not survive the First World War, and thereafter most of the members, including Wadsworth, pursued more representational modes of expression. \r\n\r\nDuring the 1920s Wadsworth's style developed towards a more straightforward realism. Maritime themes became important, first in representational views, and increasingly forming the vocabulary which Wadsworth came to use in his surreal still life compositions incorporating shells and other objects (although Wadsworth himself did not identify himself as a Surrealist). \r\n\r\nThe composition <u>Dux et Comes IV</u> is from a series of nine tempera paintings made between 1932 and 1933 (although a number of other paintings preceding and following this group share compositional similarities). 'Dux et Comes' is a musical term which translates from the Latin as 'leader and companion', and refers to choral roles in which the leader sings in one key, and the companion replies in another. All are composed of two biomorphic forms which seem to confront, pursue or otherwise engage with each other in ways suggestive of human relationships. The subtitle of the present work, 'IV', is studiedly neutral, whereas subtitles for other paintings in the series, such as 'Rebuff' and 'Pursuit', indicate particular behaviours.  \r\n\r\nThis series was made at around the time Wadsworth was engaged with the avant-garde international group <i>Abstraction-Creation</i>, which was founded for the organisation of displays of non-figurative art. \r\n\r\nWadsworth was a technical perfectionist with a profound interest in painting technique. From the early 1920s he mostly worked in the medium of tempera, a paint made by binding pigments with egg yolk in approximately equal quantities. Tempera was widely used in Europe until the 15th century, when it was superceded by oil paints. The medium was revived in the late 19th and early 20th century by a group of artists including Joseph Southall, William Holman Hunt, Walter Crane and John Dickson Batten, and by the 1920s it was associated with a conservative, medieval aesthetic of the Arts and Crafts movement. However, as Jonathan Black has pointed out, Wadsworth was not the only avant-garde painter working in tempera in the 1920s; Christopher Nevinson, Otto Dix, George Grosz and Giorgio de Chirico also worked in the medium (Jonathan Black, <u>Edward Wadsworth: Form, Feeling and Calculation. The Complete Paintings and Drawings</u>, London, 2005, p.45). \r\n\r\nTechnically, tempera is a highly demanding medium which allows no margin for error. Unlike oil paints, which can be manipulated on the canvas, tempera paint dries quickly and so the paint has to be applied with light, rapid strokes and built up in thin layers, one drying before the next is applied. The advantages of the medium are its luminous colour and the semi-matt sheen of its surface. Wadsworth himself valued its rigorous, uncompromising character, writing to another tempera painter, Maxwell Armfield that 'Painting that is \"worth\" anything at all is that in which the spirit is animated by an intellectual, or structural, flavour rather than by Romanticism (false mystery) or facile emotionalism. The Tempera medium tends to encourage this state of affairs.' (Quoted in Black, p.46.) The medium contributes a startling clarity to Wadsworth's otherwise strange and ambigous still life and abstract paintings.","historicalContext":"","briefDescription":"Painting, Dux et Comes IV, by  Edward Wadsworth, tempera on canvas, 1932.","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Jonathan Black, <u>Edward Wadsworth: Form, Feeling and Calculation. The Complete Paintings and Drawings</u>, London: Philip Wilson, 2005, cat.304"}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[{"text":"abstraction","id":"AAT56508"}],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["P.5-1960"],"accessionNumberNum":"5","accessionNumberPrefix":"P","accessionYear":1960,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2026-07-14","recordCreationDate":"2003-03-03","availableToBook":false}}