Tomb Effigy of Elizabeth Boott Duveneck
The Tomb Effigy of Elizabeth Boott Duveneck is an 1891 funerary monument completed by the American painter Frank Duveneck in 1891 for the grave of his wife Elizabeth Boott Duveneck (known as Lizzy) 1846–1888) at the Cimitero degli Allori in Florence, Italy. Duveneck was assisted in its design by the sculptor Clement Barnhorn.[1]
| Tomb Effigy of Elizabeth Boott Duveneck | |
|---|---|
 Photographed in situ | |
| Material | Bronze, gold leaf |
| Size | Lenght: 215.9 cm (85.0 in)
|
| Created | Completed 1891 |
| Present location | Cimitero degli Allori, Florence, Italy |
The couple married relatively late, when they were both around 40 years. She came from a wealthy Boston family, while he had a middleclass Kentucky background. Neither her father or her friends (including Henry James) approved of the marriage, although they were devoted to each other. Lizzie's early death four years after their marriage left Duveneck distraught. In commemoration, he co-designed and sculptured this highly expressive monument, which is widely considered a high point of 19th century funerary art.
The effigy is made from bronze and gold leaf, and is life-sized at 215.9 cm (85.0 in) in length.
Elizabeth Boott
Elizabeth Boott, known as Lizzie, was an American painter of landscapes, portraits and still life. She was born into a wealthy family in Boston; her father was the successful composer Francis Boott.[2] Elizabeth married Frank Duveneck (her former teacher) in 1886 when she was just over 40 years old, much to the disapproval of her father, who viewed Duveneck as a coarse and unrefined bohemian. She had been raised in a wealthy family, and was a long-term friend with the author Henry James, who also looked down on Duveneck.[3]
The couple moved to a villa in Bellosguardo, south-western Italy, where they had a son together. However, she caught pneumonia and died young on the 22nd March 1888. Her death left her husband grief-stricken and distraught.[2][3] He was 38 years when they married, while she had just passed 40 years. She described him as the love of her life. Duveneck did not remarry after Lizzie's death, and died in 1919 aged 70.[3][4]
Description
The monument's design incorporates elements from both Gothic and Renaissance recumbent effigies, coupled with a 19th-century outlook on death.[1] She is shown as resting peacefully with her arms folded over her chest. The dominant feature is the ribbed and expressive palm branch strewn across her body, which art historian assume to represent then optimistic Christian belief that death is temporary rather than eternal.[1]
The tomb is widely admired, and although a painter rather than sculptor, Duveneck produced a number of replicas for major American museums such as bronze or plaster for the Metropolitan Museum of Art and the Museum of Fine Arts, Boston, the Art Institute of Chicago, the Yale University Art Gallery, the University of Nebraska and the Pennsylvania Academy of Fine Arts.[5]
References
- "Tomb Effigy of Elizabeth Boott Duveneck". Metropolitan Museum of Art. Retrieved 11 May 2023
- Marshall (2017), p. 99
- Young (1969), p. 101
- "Tomb Effigy of Elizabeth Boott Duveneck sculpture / (photographed by Brogi)". Smithsonian Institution. Retrieved 12 may 2023
- Gardner (1965), p. 56
Sources
- Gardner, Albert Ten Eyck. American Sculpture: A Catalogue of the Collection of the Metropolitan Museum of Art. Metropolitan Museum of Art, 1965
- Jaffe, Irma (ed.). The Italian Presence in American Art, 1860-1920 NY: Fordham University Press, 1992. ISBN 978-0-8232-1342-9
- Marshall, Christopher (ed.). Sculpture and the Museum. Routledge, 2017. ISBN 978-1-3515-4955-4
- Tolles, Thayer (ed.). American Sculpture in the Metropolitan Museum of Art, Volume I: A Catalogue of Works by Artists Born before 1865. New York: Metropolitan Museum of Art, 1999
- Young, Mahonri Sharp. "The Two Worlds of Frank Duveneck". The American Art Journal, volume 1, No. 1, Spring 1969. JSTOR 1593857