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Sunday Morning
Bequeathed by R.H. Prance 1920
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<p>Although this imaginary scene is set in a Dutch house in the seventeenth century its subject, a new baby in the home, would have been familiar to its Victorian audience. The mother is absent and a midwife holds the new born. Infant and maternal mortality rates were still relatively high in Victorian Britain, but the tranquillity of the scene and the morning light appear reassuring. A woman, dressed in black, is seated next to the midwife, leafing through the pages of a large book. The larger version of the painting, <span>A Birth Chamber, Seventeenth Century </span>(1868), shows the same scene but also includes the mother of the child lying on a bed to the left and her servant seated beside her.</p><p><em>Gallery label, August 2018</em></p>
painting oil paint wood
Sunday Morning
support: 400 × 330 mm
frame: 688 × 622 × 97 mm
Bequeathed by R.H. Prance 1920
<p><i>Sunday Morning</i> depicts an imaginary scene in a Dutch house in the seventeenth century. A midwife, holding a new born baby, looks out of a window on to the streets lit by the sun. A woman, dressed in black, is seated next to her leafing through the pages of a large book, perhaps a Bible. The subject of <i>Sunday Morning</i> is evident from an earlier painting of the same scene entitled <i>A Birth Chamber, Seventeenth Century </i>(1868) now in the Victoria and Albert Museum. This painting, which is larger than the version at Tate, includes to the left the mother of the child lying on a bed and her servant seated beside her. 
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<br/>Born in the Netherlands, Alma-Tadema entered the Antwerp Academy at the age of sixteen. Here he came under the influence of the Dutch painter Joseph Dyckmans (1811-88). Known as the ‘Dou of Belgium’ Dyckmans primarily painted genre scenes inspired by seventeenth century artists, including Pieter de Hooch (1629-84), Nicholaes Maes (1634-93) and Gerrit Dou (1613-75). With few exceptions paintings by these artists are characterised by a sensitivity to natural light and a skill in painting detail. The warm glow which bathes the woman and child, contrasting starkly with the darkened interior, reveals Alma-Tadema’s awareness of these sources. The subject matter and attention to detail also recalls many other seventeenth century Dutch paintings, for example <i>Woman Nursing an Infant </i>by de Hooch.
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<br/><i>A Birth Chamber, Seventeenth Century </i>was positively received at the exhibition of Living Masters in Amsterdam in 1868. The success of the painting may have encouraged Alma-Tadema to produce this second version and a watercolour of <i>Sunday Morning</i> now in the Walker Art Gallery, Liverpool. The Dutch character of the painting may have contributed to Alma-Tadema being given a Knighthood in the Order of the Dutch Lion (Becker, p.151). In 1870, approximately the time he painted <i>Sunday Morning</i>, Alma-Tadema moved to London where he remained for the rest of his lifetime. There his Dutch subject matter and sombre palette were replaced with brightly coloured paintings of everyday life set in Greece and Rome. These paintings proved enormously popular amongst the public, and Alma-Tadema quickly rose to prominence in the Victorian art world. Whether he was painting seventeenth century or classical subjects, Alma-Tadema impersonated the life of the time through his use of historical detail, and re-created the scenes as if they were contemporary.
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<br/><b>Further reading:</b>
<br/>Edwin Becker, ed. <i>Sir Lawrence Alma-Tadema, </i>exhibition catalogue, Van Gogh Museum, Amsterdam 1997, p.262</p>
<h2>
<a name="Heading9"></a>R. J. Barrow, <i>Lawrence Alma-Tadema, </i>London 2001</h2>
<p>
<br/>Heather Birchall
<br/>February 2003</p>

Summary
2010-01-08T00:00:00
summary
SHORT_TEXT
<div class="text">
<p>Although this imaginary scene is set in a Dutch house in the seventeenth century its subject, a new baby in the home, would have been familiar to its Victorian audience. The mother is absent and a midwife holds the new born. Infant and maternal mortality rates were still relatively high in Victorian Britain, but the tranquillity of the scene and the morning light appear reassuring. A woman, dressed in black, is seated next to the midwife, leafing through the pages of a large book. The larger version of the painting, <i>A Birth Chamber, Seventeenth Century </i>(1868), shows the same scene but also includes the mother of the child lying on a bed to the left and her servant seated beside her.</p>
</div>

Display caption
2018-08-03T00:00:00
display-caption
DISPLAY_CAPTION
adults apron architecture baby children clothing and personal items contemplation domestic emotions and human qualities emotions, concepts and ideas family features interior - non-specific interiors leisure and pastimes mother and child objects people periods and styles reading recreational activities society Tudor window woman