- oil on canvas
- 151.0 × 251.2 cm
- inscribed in brown paint l.l.: Schenck.
- Accession Number
- International Painting
- Credit Line
- National Gallery of Victoria, Melbourne
© Public Domain
This digital record has been made available on NGV Collection Online through the generous support of Digitisation Champion Ms Carol Grigor through Metal Manufactures Limited
- Gallery location
- 19th Century European Paintings Gallery
Level 2, NGV International
August Schenck spent most of his career in France, specialising in painting landscapes and animal subjects. For more than thirty years he was a regular exhibitor at the Paris Salons, where Anguish was first shown in 1878. In Anguish, Schenck has given his distraught ewe an expression suggestive of despair mingled with stoic determination. Recognizing these decidedly human responses, the viewer might be expected to identify immediately with the animal’s grim predicament. The ewe’s bravery in the face of the threat posed by the murderous circle of crows is perhaps, however, somewhat overstated in her defiant stance above the bleeding lamb.
There is little subtlety evident in this work. Although Anguish has a sentimental quality, Schenck did not intend this to be overt. Indeed, his sincerity in portraying the nobility in animals was not lost on his contemporaries, with a critic for Le Figaro describing the artist in 1878 as ‘One of our finest animal painters. He is one of those originals of the species not yet extinct who prefer dogs to men and find more sweetness in sheep than women’. This is by no means a derogatory statement, but is, rather, a testament to Schenck’s abilities as a painter. Interestingly, if we accept that there is an anthropomorphic quality in Anguish, then the surreal massing of the crows may well be Schenck’s method of alluding to the inhumanity prevalent in society. He may here be examining the broader human condition, in the context of an animal painting. Anguish was one of the earliest acquisitions by the National Gallery of Victoria, and the high ideals expressed in the painting were not lost on early visitors to the Gallery. In 1906, this picture was voted among the five most popular in the Melbourne collection.