Study for Commerce or the Triumph of the Thames 1767 - 1780

Curator: James Barry sketched this preparatory drawing, "Study for Commerce or the Triumph of the Thames," sometime between 1767 and 1780. The medium includes pen, black chalk, and ink on paper. Editor: Woah, busy scene. I get a chaotic vibe—like everyone's rushing somewhere, or maybe being swept away? Definitely an oceanic, or fluvial, sort of vibe. The linework is so active, it barely settles. Curator: Barry, an Irish painter deeply entrenched in the Neoclassical movement and history painting, conceived this as part of a larger, allegorical series. The image itself portrays a triumphant Thames River, surrounded by figures that symbolize commerce and prosperity. Look at Mercury hovering above with his trumpet. Editor: Mercury—always knew how to make an entrance. So, it’s a sketch for a bigger piece? You can definitely feel the energy of something bigger being captured. It's got this raw urgency to it, you know? The central river figure looks…powerful, almost aggressively so, amidst all the figures, tumbling about. Curator: Exactly. Barry aimed to celebrate Britain's commercial strength and maritime power, reflecting the prevalent nationalistic sentiment. The academic style emphasizes classical ideals adapted to contemporary British themes, focusing on Britain's expanding empire through trade. Editor: Which maybe explains the…almost overwhelming sense of people as resources. They're less individuals and more parts of the machine. Kinda unsettling, when you look at it that way. The muted palette really reinforces this idea of industry over emotion, commerce over connection. I wonder if the finished piece really changes this original rawness? Curator: This tension makes the sketch fascinating. Barry grappled with how to reconcile classical idealism with Britain’s more complex, often exploitative, commercial reality. I wonder if a more elaborate piece would resolve or conceal this? Editor: Well, whether triumphant or turbulent, the sketch is a wild, and thought-provoking ride. Makes me appreciate how the underpainting or the rough sketch of the piece can reflect such complexity.