Description
The Lady of Shalott an 1888 oil-on-canvas painting, is one of John William Waterhouse's most famous works. It depicts a scene from Tennyson's poem in which the poet describes the plight and the predicament of a young woman, loosely based on the figure of Elaine of Astolat from medieval Arthurian legend, who yearned with an unrequited love for the knight Sir Lancelot, isolated under an undisclosed curse in a tower near King Arthur's Camelot. [2] Waterhouse painted three versions of this character, in 1888, 1894 and 1915. [1] [3] [4] [5]
The painting contains a range of bright colours typical of the Pre-Raphaelites. It pictures the titular character of Tennyson's poem, also titled The Lady of Shalott (1842). In the poem, the Lady had been confined to her quarters under a curse that forbade her to go outside or even look directly out of a window; her only view of the world was through a mirror. She sat below the mirror and wove a tapestry of scenes she could see by the reflection. After defying the curse by looking out the window at Camelot, she made her way to a small boat. This is the moment pictured in Waterhouse's painting as she leaves to face her destiny and she is shown sitting on the tapestry she has woven.
The Lady has a lantern at the front of her boat, and a crucifix is positioned near the bow. Next to the crucifix are three candles. Candles were a representation of life – two of the candles are already blown out, signifying that her death is soon to come. Aside from the metaphoric details, this painting is valued for Waterhouse's realistic painting abilities. The Lady's dress is stark white against the much darker hues of the background. Waterhouse's close attention to detail and colour, the accentuation of the beauty of nature, realist quality, and his interpretation of her vulnerable, wistful face are further demonstrations of his artistic skill. Naturalistic details include two swallows and the water plants that would be found in a river in England at this time. [1]
The Lady of Shalott was donated to the public by Sir Henry Tate in 1894. [1]
Tennyson's poem
According to Tennyson's version of the legend, the Lady of Shalott was forbidden to look directly at reality or the outside world; instead, she was doomed to view the world through a mirror and weave what she saw into tapestry. Her despair was heightened when she saw loving couples entwined in the far distance, and she spent her days and nights aching for a return to normal. One day the Lady's mirror revealed Sir Lancelot passing by on his horse. When she impetuously took three paces across the room and looked at him, the mirror cracked, and she realised that the curse had befallen her. The lady escaped by boat during an autumn storm, inscribing 'The Lady of Shalott' on the prow. As she sailed towards Camelot and certain death, she sang a lament. Her frozen body was found shortly afterwards by the knights and ladies of Camelot, one of whom is Lancelot, who prayed to God to have mercy on her soul.
From part IV of Tennyson's poem:
And down the river's dim expanse
Like some bold seer in a trance,
Seeing all his own mischance
With glassy countenance
Did she look to Camelot.
And at the closing of the day
She loosed the chain, and down she lay;
The broad stream bore her far away,
The Lady of Shalott. [1]
Tennyson also reworked the story in Elaine, part of his Arthurian epic Idylls of the King , published in 1859, though in this version the Lady is rowed by a retainer in her final voyage. [6]
Galahad, sometimes referred to as Galeas or Galath, among other versions of his name, is a knight of King Arthur's Round Table and one of the three achievers of the Holy Grail in Arthurian legend. He is the illegitimate son of Sir Lancelot du Lac and Lady Elaine of Corbenic and is renowned for his gallantry and purity as the most perfect of all knights. Emerging quite late in the medieval Arthurian tradition, Sir Galahad first appears in the Lancelot–Grail cycle, and his story is taken up in later works, such as the Post-Vulgate Cycle, and Sir Thomas Malory's Le Morte d'Arthur. In Arthurian literature, he replaced Percival as the hero in the quest for the Holy Grail.
John William Waterhouse was an English painter known for working first in the Academic style and for then embracing the Pre-Raphaelite Brotherhood's style and subject matter. His paintings are known for their depictions of women from both ancient Greek mythology and Arthurian legend. A high proportion depict a single young and beautiful woman in a historical costume and setting, though there are some ventures into Orientalist painting and genre painting, still mostly featuring women.
Elizabeth Eleanor Siddall, better known as Elizabeth Siddal, was an English artist, art model, and poet. Siddal was perhaps the most significant of the female models who posed for the Pre-Raphaelite Brotherhood. Their ideas of female beauty were fundamentally influenced and personified by her. Walter Deverell and William Holman Hunt painted Siddal, and she was the model for John Everett Millais's famous painting Ophelia (1852). Early in her relationship with Dante Gabriel Rossetti, Siddal became his muse and exclusive model, and he portrayed her in almost all his early artwork depicting women.
"The Lady of Shalott" is a lyrical ballad by the 19th-century English poet Alfred Tennyson and one of his best-known works. Inspired by the 13th-century Italian short prose text Donna di Scalotta, the poem tells the tragic story of Elaine of Astolat, a young noblewoman stranded in a tower up the river from Camelot. Tennyson wrote two versions of the poem, one published in 1832, of 20 stanzas, the other in 1842, of 19 stanzas, and returned to the story in "Lancelot and Elaine". The vivid medieval romanticism and enigmatic symbolism of "The Lady of Shalott" inspired many painters, especially the Pre-Raphaelites and their followers, as well as other authors and artists.
This is a bibliography of works about King Arthur, his family, his friends or his enemies. This bibliography includes works that are notable or are by notable authors.
Elaine of Astolat, also known as Elayne of Ascolat and other variants of the name, is a figure in Arthurian legend. She is a lady from the castle of Astolat who dies of her unrequited love for Sir Lancelot. Well-known versions of her story appear in Sir Thomas Malory's 1485 book Le Morte d'Arthur, Alfred, Lord Tennyson's mid-19th-century Idylls of the King, and Tennyson's poem "The Lady of Shalott". She should not be confused with Elaine of Corbenic, the mother of Galahad by Lancelot.
Astolat is a legendary castle and town of Great Britain named in Arthurian legends. It is the home of Elaine, "the lily maid of Astolat", as well of her father Sir Bernard and her brothers Lavaine and Tirre. It is known as Shalott in many modern cultural references, derived from Alfred Lord Tennyson's poem "The Lady of Shalott". In the Lancelot-Grail it was said to be upstream of Camelot.
Circe Offering the Cup to Ulysses is an oil painting in the Pre-Raphaelite style by John William Waterhouse that was created in 1891. It is now in Gallery Oldham, Oldham, England.
The Magic Circle is an 1886 oil painting in the Pre-Raphaelite style by John William Waterhouse. Two copies of the painting were produced. The two paintings and a study depict a witch or sorceress using a wand to draw a fiery magic circle on the Earth to create a ritual space for her ceremonial magic. As was common in the period, Waterhouse repeated his subject on a smaller scale, probably at the request of a collector.
Mariana is an 1851 oil-on-panel painting by John Everett Millais. The image depicts the solitary Mariana from William Shakespeare's Measure for Measure, as retold in Tennyson's 1830 poem "Mariana". The painting is regarded as an example of Millais's "precision, attention to detail, and stellar ability as a colorist". It has been held by Tate Britain since 1999.
The Awakening Conscience (1853) is an oil-on-canvas painting by the English artist William Holman Hunt, one of the founders of the Pre-Raphaelite Brotherhood, which depicts a woman rising from her position in a man's lap and gazing transfixed out the room's window.
Kairo-kō: A Dirge is a 1905 novel by the Japanese author Natsume Sōseki. The earliest, and only major, prose treatment of the Arthurian legend in Japanese, it chronicles the adulterous love triangle between Lancelot, Guinevere, and Elaine of Astolat.
Saint Eulalia is an oil painting on canvas in the Pre-Raphaelite style, created in 1885 by English artist John William Waterhouse, depicting the aftermath of the death of Eulalia of Mérida. It is currently housed at Tate Britain.
La Damigella di Scalot is a thirteenth-century Italian romance novellina, i.e. a very short story, included in the collection Il Novellino: Le ciento novelle antike as the 82nd tale. It tells the story of the unrequited love of the titular Lady of Scalot for Sir Lancelot and the subsequent death of the lady by lovesickness.
I Am Half-Sick of Shadows, Said the Lady of Shalott is a painting by John William Waterhouse completed in 1915. It is the third painting by Waterhouse that depicts a scene from the Tennyson poem, "The Lady of Shalott". The title of the painting is a quotation from the last two lines in the fourth and final verse of the second part of Tennyson's poem:
The Lady of Shalott Looking at Lancelot is an oil-on-canvas painting by John William Waterhouse, completed in 1894. It measures 142.2 by 86.3 centimetres. The artist presented it to Leeds Art Gallery in 1895.
Mariana in the South is an 1897 oil painting on canvas by the British Pre-Raphaelite artist John William Waterhouse.
The Lady of Shalott is an oil painting by the English artist William Holman Hunt, made c. 1888–1905, and depicting a scene from Tennyson's 1833 poem, "The Lady of Shalott". The painting is held by the Wadsworth Atheneum, in Hartford, Connecticut. A smaller version is held by the Manchester Art Gallery.
