Page 13 - James Ward - A Lioness with a Heron

In just such a way, throughout his career, animals fascinated Ward; he variously depicted them as prized
possessions, as chattels, as helpmeets, occasionally as embodiments of an idea or even kindred spirits.
But in every instance, Ward’s animals are sentient beings, driven by specific and superbly observed
mechanics and instincts; they are never portrayed as anthropomorphized allegories of human ideals, or
used as mere staffage. The animals in Lioness with a Heron are not allegorical; they are real creatures,
driven by their instincts and at the mercy of the natural world they inhabit.

I will probably never manage to forget completely Blake’s poem when looking at this picture. However,
I now can appreciate that, rather than ‘fearful symmetry’, what Ward actually captured in this work
was the animals’ vital symmetry, and in so doing, he produced a masterpiece of British art.

I would like here to express my thanks for advice and assistance to Giacomo Algranti, Alex Bell,
Marijke Booth, Martina Fusari, Madeleine Hall, Dr Karin Kyburz, Amparo Martinez-Russotto,
Alison Price, Livia Schaafsma, Sotheby’s Print department, and Stanton Thomas, and to Saven Morris
for his advice and editing of the text. We are also very grateful to Messrs. Allemandi, Sara Pittatore,
Angelo Moranelli and Carlo Nepote, Renzo Parini, Mauro Pregnolato, Roberto Cesaro and Messrs
Fotomec, for the catalogue printing and production, to Prudence Cuming Associates for their excellent
photography and endless patience, to David Chesterman for conservation, and to Rollo Whately and
Virginia Brix for their help and advice with the framing.

Finally, I would like to thank Patrick Matthiesen. Both in the paintings the Gallery handles, and in
his approach to artworks in general, he has steadfastly maintained a sense of what is true and what is
possible. Such vision is all too rare nowadays.

ANDREA GATES

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