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Lot Essay
It hardly needs to be noted that the ancient cultures of Greece and Rome remained an enduring subject of fascination for Alma-Tadema, but perhaps a less explored topic is his interest in Egyptian subject matter. Although he only visited Egypt once in 1902-03, when asked why he painted ancient Egyptians, Alma-Tadema replied, "Why I painted Egyptians? I don't know but it seems to me that anyone who studies history always returns to the cradle of civilization, Egypt, the grand land where humanity burst forth, in the most modern vision of mankind" (quoted in Swanson, p. 95).
The present composition was painted in March of 1874, a particularly productive period of Alma Tadema's career, the same month that saw the completion of two highly important works A Sculpture Gallery and A Picture Gallery in Rome (Swanson, nos. 164 and 165). Almost immediately after its completion Joseph overseeing the Pharoah's Granaries was submitted to three international exhibitions in London, Paris and Berlin; as with many of his paintings it received mixed reviews. A critic from the Atheneum reviewing the Royal Academy exhibition raved that the aspects of the work were "painted with charming fidelity, richness and brilliancy" while another reviewer from the Illustrated London News complained the composition was "overcrowded with Egyptian devices, patterns and decoration in violation of pictorial requirements." While Alma-Tadema's employment of pictorial devices may have seemed unorthodox to some contemporary critics, his imitation and incorporation of ancient motifs remained unsurpassed by his artistic contemporaries. More importantly, his long-term interest in reviving the classical world on canvas raised pubic awareness of contemporary archeological discoveries-excavations that, beginning as early as the late 18th century discovery of Herculaneum, would become instrumental in shaping every facet of popular culture - not just the visual arts but theater, dance and contemporary fashions as well.
Unlike many works whose subject matter is more generalized, the present work makes direct reference to the Old Testament character of Joseph whose life is narrated in the book of Genesis. When the young Joseph incurred the wrath of his brothers by recounting two symbolic dreams portraying his eventual dominion over them, they conspired to kill him. At the urging of another sibling, they instead sold Joseph to merchants who brought him in to Egypt, in turn selling him to Potiphar, the captain of the Pharoah's guard. Joseph eventually rose quickly in the Pharoah's ranks and was appointed to the prestigious position of overseer of all the land and goods of the kingdom which included among other tasks the administration of the royal estates, supervisor of royal granaries, and overseer of royal flocks.
With regard to the present work, it is not clear if the wall paintings in the background are invented or actually derived from surviving examples. Nevertheless, in preparation for other paintings, Alma-Tadema was known to have often drawn direct inspiration from artifacts in the British Museum, contemporary photographs of actual digs and popular books such as J.G. Wilkinson's Manners and Customs of the Ancient Egyptians, whose numerous illustrations provided a rich source of imagery (see An Egyptian widow in the time of Diocletian, Swanson, no. 141). Although the wall paintings may not be documentary, the scene Alma-Tadema has chosen to depict faithfully describes the careful accounting of grain by the ancient Egyptians. Corn and other grain were actually measured piece by piece, their weight written down by a scribe during which time they were supervised by a higher authority. In this scene Joseph sits stoically on a throne, staff in hand while a seated scribe recites the current contents of the granary. Indeed, Joseph's premonition that seven years of famine were to follow the seven years of abundance meant the management of the granaries assumed a heightened importance as corn was stockpiled in anticipation of the coming famine.
Earlier in the same year, Alma-Tadema executed a pencil and watercolor study for the present work, identical in composition yet slightly larger in size (sold Sotheby's, New York, 29 April 1988, lot 2817). The final oil version, which is on a slightly smaller scale, reveals a meticulous rendering of the detail and a compositional clarity.
The present work was probably commissioned by the Dutch dealer François Buffa after which it journey to America to form part of the prestigious collection of New York industrialist William H. Vanderbilt.
The present composition was painted in March of 1874, a particularly productive period of Alma Tadema's career, the same month that saw the completion of two highly important works A Sculpture Gallery and A Picture Gallery in Rome (Swanson, nos. 164 and 165). Almost immediately after its completion Joseph overseeing the Pharoah's Granaries was submitted to three international exhibitions in London, Paris and Berlin; as with many of his paintings it received mixed reviews. A critic from the Atheneum reviewing the Royal Academy exhibition raved that the aspects of the work were "painted with charming fidelity, richness and brilliancy" while another reviewer from the Illustrated London News complained the composition was "overcrowded with Egyptian devices, patterns and decoration in violation of pictorial requirements." While Alma-Tadema's employment of pictorial devices may have seemed unorthodox to some contemporary critics, his imitation and incorporation of ancient motifs remained unsurpassed by his artistic contemporaries. More importantly, his long-term interest in reviving the classical world on canvas raised pubic awareness of contemporary archeological discoveries-excavations that, beginning as early as the late 18th century discovery of Herculaneum, would become instrumental in shaping every facet of popular culture - not just the visual arts but theater, dance and contemporary fashions as well.
Unlike many works whose subject matter is more generalized, the present work makes direct reference to the Old Testament character of Joseph whose life is narrated in the book of Genesis. When the young Joseph incurred the wrath of his brothers by recounting two symbolic dreams portraying his eventual dominion over them, they conspired to kill him. At the urging of another sibling, they instead sold Joseph to merchants who brought him in to Egypt, in turn selling him to Potiphar, the captain of the Pharoah's guard. Joseph eventually rose quickly in the Pharoah's ranks and was appointed to the prestigious position of overseer of all the land and goods of the kingdom which included among other tasks the administration of the royal estates, supervisor of royal granaries, and overseer of royal flocks.
With regard to the present work, it is not clear if the wall paintings in the background are invented or actually derived from surviving examples. Nevertheless, in preparation for other paintings, Alma-Tadema was known to have often drawn direct inspiration from artifacts in the British Museum, contemporary photographs of actual digs and popular books such as J.G. Wilkinson's Manners and Customs of the Ancient Egyptians, whose numerous illustrations provided a rich source of imagery (see An Egyptian widow in the time of Diocletian, Swanson, no. 141). Although the wall paintings may not be documentary, the scene Alma-Tadema has chosen to depict faithfully describes the careful accounting of grain by the ancient Egyptians. Corn and other grain were actually measured piece by piece, their weight written down by a scribe during which time they were supervised by a higher authority. In this scene Joseph sits stoically on a throne, staff in hand while a seated scribe recites the current contents of the granary. Indeed, Joseph's premonition that seven years of famine were to follow the seven years of abundance meant the management of the granaries assumed a heightened importance as corn was stockpiled in anticipation of the coming famine.
Earlier in the same year, Alma-Tadema executed a pencil and watercolor study for the present work, identical in composition yet slightly larger in size (sold Sotheby's, New York, 29 April 1988, lot 2817). The final oil version, which is on a slightly smaller scale, reveals a meticulous rendering of the detail and a compositional clarity.
The present work was probably commissioned by the Dutch dealer François Buffa after which it journey to America to form part of the prestigious collection of New York industrialist William H. Vanderbilt.