An Experiment With An Air Pump Download

The painting depicts a natural philosopher, a forerunner of the modern scientist, recreating one of Robert Boyle's air pump experiments, in which a bird is deprived of air, before a varied group of onlookers. The group exhibits a variety of reactions, but for most of the audience scientific curiosity overcomes concern for the bird. The central figure looks out of the picture as if inviting the viewer's participation in the outcome.

Despite the operational and maintenance obstacles, construction of the pump enabled Boyle to conduct a great many experiments on the properties of air, which he later detailed in his New Experiments Physico-Mechanicall, Touching the Spring of the Air, and its Effects, (Made, for the Most Part, in a New Pneumatical Engine). In the book, he described in great detail 43 experiments he conducted, on occasion assisted by Hooke, on the effect of air on various phenomena. Boyle tested the effects of "rarified" air on combustion, magnetism, sound, and barometers, and examined the effects of increased air pressure on various substances. He listed two experiments on living creatures: "Experiment 40", which tested the ability of insects to fly under reduced air pressure, and the dramatic "Experiment 41," which demonstrated the reliance of living creatures on air for their survival. In this attempt to discover something "about the account upon which Respiration is so necessary to the Animals, that Nature hath furnish'd with Lungs", Boyle conducted numerous trials during which he placed a large variety of different creatures, including birds, mice, eels, snails and flies, in the vessel of the pump and studied their reactions as the air was removed.[3] Here, he describes an injured lark:

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... the Bird for a while appear'd lively enough; but upon a greater Exsuction of the Air, she began manifestly to droop and appear sick, and very soon after was taken with as violent and irregular Convulsions, as are wont to be observ'd in Poultry, when their heads are wrung off: For the Bird threw her self over and over two or three times, and dyed with her Breast upward, her Head downwards, and her Neck awry.[4]

Wright met Erasmus Darwin in the early 1760s, probably through their common connection of John Whitehurst, first consulting Darwin about ill health in 1767 when he stayed in the Darwin household for a week.[8] The energy and vivacity of both Erasmus and Mary (Polly) Darwin impressed Wright. In the 1980s Eric Evans (National Gallery) suggested that Darwin is the figure in the left foreground who holds a watch. As this composed timekeeper is not consistent with Darwin's flamboyant character, it is more likely that this is Dr William Small. The attention to timekeeping fits with Dr Small's role as the social secretary for the Lunar Circle. Small returned from Virginia in 1764 and established his practice in Birmingham in 1765, consistent with this being a meeting in 1767. The profile and wig of this figure are consistent with a contemporary portrait of Small by Tilly Kettle.

During his apprenticeship and early career Wright concentrated on portraiture. By 1762, he was an accomplished portrait artist, and his 1764 group portrait James Shuttleworth, his Wife and Daughter is acknowledged as his first true masterpiece. Benedict Nicolson suggests that Wright was influenced by the work of Thomas Frye; in particular by the 18 bust-length mezzotints which Frye completed just before his death in 1762. It was perhaps Frye's candlelight images that tempted Wright to experiment with subject pieces. Wright's first attempt, A Girl reading a Letter by candlelight with a Young Man looking over her shoulder from 1762 or 1763, is a trial in the genre, and is fetching though uncomplicated.[9]Wright's An Experiment on a Bird in the Air Pump forms part of a series of candlelit nocturnes that he produced between 1765 and 1768.

The first of his candlelit masterpieces, Three Persons Viewing the Gladiator by Candlelight, was painted in 1765, and showed three men studying a small copy of the "Borghese Gladiator". Viewing the Gladiator was greatly admired; but his next painting, A Philosopher giving that Lecture on the Orrery, in which a Lamp is put in place of the Sun (normally known by the shortened form A Philosopher Giving a Lecture on the Orrery or just The Orrery), caused a greater stir, as it replaced the Classical subject at the centre of the scene with one of a scientific nature. Wright's depiction of the awe produced by scientific "miracles" marked a break with traditions in which the artistic depiction of such wonder was reserved for religious events,[12] since to Wright the marvels of the technological age were as awe-inspiring as the subjects of the great religious paintings.[13]

In both of these works the candlelit setting had a realist justification. Viewing sculpture by candlelight, when the contours showed well and there might even be an impression of movement from the flickering light, was a fashionable practice described by Goethe.[14] In the orrery demonstration the shadows cast by the lamp representing the sun were an essential part of the display, used to demonstrate eclipses. But there seems no reason other than heightened drama to stage the air pump experiment in a room lit by a single candle, and in two later paintings of the subject by Charles-Amde-Philippe van Loo the lighting is normal.[15]

An anonymous review from the time called Wright "a very great and uncommon genius in a peculiar way".[18] The Orrery was painted without a commission, probably in the expectation that it would be bought by Washington Shirley, 5th Earl Ferrers, an amateur astronomer who had an orrery of his own, and with whom Wright's friend Peter Perez Burdett was staying while in Derbyshire. Figures thought to be portraits of Burdett and Ferrers feature in the painting, Burdett taking notes and Ferrers seated with his son next to the orrery.[7]Ferrers purchased the painting for 210, but the 6th Earl auctioned it off, and it is now held by Derby Museum and Art Gallery.[19]

An Experiment on a Bird in the Air Pump followed in 1768, the emotionally charged experiment contrasting with the orderly scene from The Orrery. The painting, which measures 72 by 94 inches (183 by 244 cm), shows a grey cockatiel fluttering in panic as the air is slowly withdrawn from the vessel by the pump. The witnesses display various emotions: one of the girls worriedly watches the fate of the bird, while the other is too upset to observe and is comforted by her father; two gentlemen (one of them dispassionately timing the experiment) and a boy look on with interest, while the young lovers to the left of the painting are absorbed only in each other.[20] The scientist himself looks directly out of the picture, as if challenging the viewer to judge whether the pumping should continue, killing the bird, or whether the air should be replaced and the cockatiel saved.[21]

Aside from that of the children, little sympathy is directed toward the bird; David Solkin suggests the subjects of the painting show the dispassionate detachment of the evolving scientific society. Individuals are concerned for each other: the father for his children, the young man for the girl, but the distress of the cockatiel elicits only careful study.[22] To one side of the boy at the rear, the cockatiel's empty cage can be seen on the wall, and to further heighten the drama it is unclear whether the boy is lowering the cage on the pulley to allow the bird to be replaced after the experiment or hoisting the cage back up, certain of its former occupant's death. It has also been suggested that he may be drawing the curtains to block out the light from the full moon.

Jenny Uglow believes that the boy echoes the figure in the last print of William Hogarth's The Four Stages of Cruelty by pointing out the arrogance and potential cruelty of experimentation,[19] while David Fraser also sees the compositional similarities with the audience grouped round a central demonstration.[24] The neutral stance of the central character and the uncertain intentions of the boy with the cage were both later ideas: an early study, discovered on the back of a self-portrait, omits the boy and shows the natural philosopher reassuring the girls. In this sketch it is obvious that the bird will survive, and thus the composition lacks the power of the final version.[25] Lochlann Jain has analyzed the painting in the context of a contemporary cultural history and medicine of human suffocation and choking.[26]Wright, who took many of his subjects from English poetry, probably knew the following passage from "The Wanderer" (1729) by Richard Savage:[27]

The cockatiel would have been a rare bird at the time, "and one whose life would never in reality have been risked in an experiment such as this".[28] It did not become well known until after it was shown in illustrations to the accounts of the voyages of Captain Cook in the 1770s. Prior to Cook's voyage, cockatiels had been imported only in small numbers as exotic cage-birds. Wright had painted one in 1762 at the home of William Chase, featuring it both in his portrait of Chase and his wife (Mr & Mrs William Chase) and a separate study, The Parrot.[29] In selecting such a rarity for this scientific sacrifice, Wright not only chose a more dramatic subject than the "lungs-glass", but was perhaps making a statement about the values of society in the Age of Enlightenment.[7] The grey plumage of the cockatiel also shows much more effectively in the darkened room than the small dull-coloured bird in Wright's early oil sketch.[28] A resemblance has been pointed out between the group of the bird and the two nearest figures and a type of depiction of the Trinity found in Early Netherlandish painting, where the Holy Spirit is represented by a dove, to which God the Father (the philosopher) points, while Christ (the father) gestures in blessing to the viewer.[30] 2351a5e196