page_title: An Experiment on a Bird in the Air Pump
section_title: Background
hierarchical_section_title: An Experiment on a Bird in the Air Pump / Painting / Background
caption_attribution_description: A public lecture about a model solar system, with a lamp&#8212;in place of the sun&#8212;illuminating the faces of the audience. .
context_page_description: An Experiment on a Bird in the Air Pump is a 1768 oil-on-canvas painting by Joseph Wright of Derby, one of a number of candlelit scenes that Wright painted during the 1760s. The painting departed from convention of the time by depicting a scientific subject in the reverential manner formerly reserved for scenes of historical or religious significance. Wright was intimately involved in depicting the Industrial Revolution and the scientific advances of the Enlightenment. While his paintings were recognized as exceptional by his contemporaries, his provincial status and choice of subjects meant the style was never widely imitated. The picture has been owned by the National Gallery in London since 1863 and is regarded as a masterpiece of British art.
  The painting depicts a natural philosopher, a forerunner of the modern scientist, recreating one of Robert Boyle's air pump experiments, in which a bird is deprived of air, before a varied group of onlookers. The group exhibits a variety of reactions, but for most of the audience scientific curiosity overcomes concern for the bird. The central figure looks out of the picture as if inviting the viewer's participation in the outcome.
context_section_description: During his apprenticeship and early career Wright concentrated on portraiture. By 1762, he was an accomplished portrait artist, and his 1764 group portrait James Shuttleworth, his Wife and Daughter is acknowledged as his first true masterpiece. Benedict Nicolson suggests that Wright was influenced by the work of Thomas Frye; in particular by the 18 bust-length mezzotints which Frye completed just before his death in 1762. It was perhaps Frye's candlelight images that tempted Wright to experiment with subject pieces. Wright's first attempt, A Girl reading a Letter by candlelight with a Young Man looking over her shoulder from 1762 or 1763, is a trial in the genre, and is fetching though uncomplicated.
  Wright's An Experiment on a Bird in the Air Pump forms part of a series of candlelit nocturnes that he produced between 1765 and 1768.
  There was a long history of painting candlelit scenes in Western art, although as Wright had not at this date travelled abroad, there remains uncertainty as to what paintings he might have seen in the original, as opposed to prints. Nicolson, who made studies of both Wright and other candlelight painters such as the 17th-century Utrecht Caravaggisti, thought their paintings, among the largest in the style, those most likely to have influenced Wright. However Judy Egerton wonders if he could have seen any, preferring as influences the far smaller works of the Leiden fijnschilder Godfried Schalcken (1643–1706), whose reputation was much greater in the early 18th century than subsequently. He had worked in England from 1692 to 1697, and several of his paintings can be placed in English collections in Wright's day.
  Although he was the leading expert writing in English, Nicolson does not suggest that Wright is likely to have known of the 17th-century candlelit narrative religious subjects of Georges de La Tour and Trophime Bigot, which, in their seriousness, are the closest works to Wright that are lit only by candle. The Dutch painters' works and other candlelit scenes by 18th-century English painters such as Henry Morland (father of George) tended instead to exploit the possibilities of semi-darkness for erotic suggestiveness. Some of Wright's own later candlelit scenes were by no means as serious as his first ones, as seen from their titles: Two Boys Fighting Over a Bladder and Two Girls Dressing a Kitten by Candlelight.  
  The first of his candlelit masterpieces, Three Persons Viewing the Gladiator by Candlelight, was painted in 1765, and showed three men studying a small copy of the "Borghese Gladiator". Viewing the Gladiator was greatly admired; but his next painting, A Philosopher giving that Lecture on the Orrery, in which a Lamp is put in place of the Sun (normally known by the shortened form A Philosopher Giving a Lecture on the Orrery or just The Orrery), caused a greater stir, as it replaced the Classical subject at the centre of the scene with one of a scientific nature. Wright's depiction of the awe produced by scientific "miracles" marked a break with traditions in which the artistic depiction of such wonder was reserved for religious events, since to Wright the marvels of the technological age were as awe-inspiring as the subjects of the great religious paintings.
  In both of these works the candlelit setting had a realist justification. Viewing sculpture by candlelight, when the contours showed well and there might even be an impression of movement from the flickering light, was a fashionable practice described by Goethe. In the orrery demonstration the shadows cast by the lamp representing the sun were an essential part of the display, used to demonstrate eclipses. But there seems no reason other than heightened drama to stage the air pump experiment in a room lit by a single candle, and in two later paintings of the subject by Charles-Amédée-Philippe van Loo the lighting is normal.
  The painting was one of a number of British works challenging the set categories of the rigid, French-dictated hierarchy of genres in the late 18th century, as other types of painting aspired to be trea
caption: A Philosopher Lecturing on the Orrery (1768)
exif: {"Image PhotometricInterpretation": "2", "Image Make": "NIKON CORPORATION", "Image Model": "NIKON D800", "Image Orientation": "Horizontal (normal)", "Image XResolution": "1200", "Image YResolution": "1200", "Image ResolutionUnit": "Pixels/Inch", "Image Software": "Adobe Photoshop CS2 Windows", "Image DateTime": "2013:06:05 08:03:40", "Image Artist": "Richard Tailby", "Image Copyright": "Richard Tailby", "Image ExifOffset": "284", "EXIF ExposureTime": "7/10", "EXIF FNumber": "67/10", "EXIF ExposureProgram": "Manual", "EXIF ISOSpeedRatings": "200", "EXIF SensitivityType": "Recommended Exposure Index", "EXIF ExifVersion": "0230", "EXIF DateTimeOriginal": "2012:11:20 12:02:15", "EXIF DateTimeDigitized": "2012:11:20 12:02:15", "EXIF ShutterSpeedValue": "3531/6862", "EXIF ApertureValue": "15274/2783", "EXIF ExposureBiasValue": "0", "EXIF MaxApertureValue": "3", "EXIF MeteringMode": "Pattern", "EXIF LightSource": "Unknown", "EXIF Flash": "Flash did not fire, compulsory flash mode", "EXIF FocalLength": "105", "EXIF SubSecTimeOriginal": "40", "EXIF SubSecTimeDigitized": "40", "EXIF ColorSpace": "Uncalibrated", "EXIF ExifImageWidth": "6527", "EXIF ExifImageLength": "4581", "EXIF FocalPlaneXResolution": "39739/194", "EXIF FocalPlaneYResolution": "39739/194", "EXIF FocalPlaneResolutionUnit": "4", "EXIF SensingMethod": "One-chip color area", "EXIF FileSource": "Digital Camera", "EXIF SceneType": "Directly Photographed", "EXIF CustomRendered": "Normal", "EXIF ExposureMode": "Manual Exposure", "EXIF WhiteBalance": "Manual", "EXIF DigitalZoomRatio": "1", "EXIF FocalLengthIn35mmFilm": "105", "EXIF SceneCaptureType": "Standard", "EXIF GainControl": "None", "EXIF Contrast": "Normal", "EXIF Saturation": "Normal", "EXIF Sharpness": "Normal", "EXIF SubjectDistanceRange": "0", "EXIF LensSpecification": "[105, 105, 14/5, 14/5]", "EXIF LensModel": "105.0 mm f/2.8"}