Who painted Reclining Man; Two Women?

Reclining Man; Two Women was painted by John Flaxman in 1790.

Where can I see Reclining Man; Two Women?

Reclining Man; Two Women is held by National Gallery of Art.

What movement is Reclining Man; Two Women?

Reclining Man; Two Women is associated with Romanticism.

Artwork

Reclining Man; Two Women

John Flaxman , 1790

Reclining Man; Two Women is a chalk drawing by the Romanticist artist John Flaxman. It dates from 1790 and is held in the collection of the National Gallery of Art.

About this work

Overview

The piece exemplifies Flaxman’s facility with line and his interest in classical subject matter, rendered here as a study rather than a finished illustration.

John Flaxman’s drawing entitled *Reclining Man; Two Women* dates from 1790. Executed in black chalk with highlights of white chalk, charcoal and graphite, the work presents a small, intimate composition on a sheet of paper that shows signs of extensive handling. The piece exemplifies Flaxman’s facility with line and his interest in classical subject matter, rendered here as a study rather than a finished illustration.

Subject & Meaning

The composition is divided into two zones. In the lower portion a seated male figure turns his back to the viewer, his drapery rendered in loose, flowing strokes. Above him, two female figures occupy a couch; one holds a fan while the other is turned slightly, suggesting a conversational or narrative moment. The arrangement hints at a domestic or mythological scene, though the precise story remains ambiguous.

Technique & Style

Flaxman combines black chalk for the principal contours with white chalk to accentuate highlights, while charcoal and graphite deepen shadows. The drawing features a mixture of fine parallel hatching, broader smudged areas, and scumbled washes that soften transitions. This layered approach creates a sense of volume and texture, reflecting the artist’s emphasis on linear precision tempered by atmospheric effects.

History & Provenance

Created during Flaxman’s early Roman period, the drawing reflects his study of classical antiquity after training with Josiah Wedgwood in England. The paper’s worn surface and evidence of repeated handling suggest it functioned as a working study, possibly for a larger sculptural or funerary commission. Its later ownership trace is limited, but it has been catalogued among Flaxman’s drawings held by major European collections.

Context

Flaxman was a leading figure in the Neoclassical movement, known primarily for his sculptural work and designs for funerary monuments. This drawing aligns with his broader practice of translating classical motifs into linear designs, serving both as preparatory material and as an independent exploration of figure composition. The piece illustrates the cross‑disciplinary nature of his output, bridging drawing, sculpture, and decorative arts.