Miranda — the tempest

Circe Invidiosa by John William Waterhouse

The painting portrays a tall woman with her head slightly tilted down; she is pouring a green fluid from a bowl into the blue-green water beneath her. At her feet there appears to be a shadowy figure swimming in the water.

In Greek mythology, Circe was a goddess/sorceress who had knowledge of mixing various herbs to create magical enchantments. This painting depicts the story of Circe pouring a greenish substance into the water with the intention of changing her adversary Scylla into a beast.

Artist: John William Waterhouse

Year: 1892

Medium: Oil on canvas

Dimensions: 179 cm × 85 cm (70 in × 33 in)

Location: Art Gallery of South Australia, Adelaide

Описание

В стиле, типичном для Уотерхауса, главная героиня — одинокая женская фигура, помещенная в центре холста

Окружающий пейзаж туманен, как будто он не совсем реален, а фоновые фигуры различимы только при внимательном рассмотрении, сознательно гарантируя, что ведьма — единственное важное изображение.

Уотерхаус обратила особое внимание на углы, использованные в этой работе, уравновешивая круг, который фигура рисует вокруг себя, с помощью треугольника — ее прямая рука, вытянутая прямой палкой, вытянута под углом 25 градусов к ее прямому телу. Сила ведьмы подчеркивается решительным лицом, исключением воронов и лягушек — популярных символов, представляющих магию, — и ее властью над дымовой колонной

Вместо того, чтобы вздыбиться наружу или попасть под влияние ветра, он остается на прямой линии. Живая змея- уроборос обвивается вокруг шеи женщины.

Волшебный круг похож по композиции на картину Уотерхауса « Миранда — Буря» 1916 года , на которой также изображена женщина, связанная с магией. Миранда носит платье, похожее на платье ведьмы из «Волшебного круга» , и ее лицо также можно увидеть только в профиль. В отличие от изображений волшебниц Фредерика Сэндиса , таких как Морган ле Фэй 1864 года и Медея 1868 года , Уотерхаус решил сделать лицо своей ведьмы намеренным и интригующим, а не злобным.

Role in the play [edit]

The Tempest’s second scene begins with Miranda, begging her father to spare the lives of the men at sea. She’s fully aware of the powers Prospero possesses and begs him to cease the storm. In an act of bravery she challenges her father’s wisdom, arguing that: «Had I been any god of power, I would / Have sunk the sea within the earth or ere / It should the good ship so have swallow’d and / The fraughting souls within her.» As the scene progresses it is revealed to her that she is, in fact, the Princess of Milan.

When Prospero’s servant appears, Miranda is placed into a magically induced sleep. She awakes when she is summoned and it is quickly shown that the two have a contentious relationship, most probably due to Caliban’s failed attempt to rape her, she refers to him as «a villain, sir, I do not love to look on.» (I, ii).

As the moment with Caliban progresses, Miranda rebukes Caliban for the hatred he expresses towards her father:

Moments later she encounters Ferdinand for the first time and the two immediately fall in love. Miranda is amazed by the sight of him, questioning whether or not he is a spirit. While Prospero is pleased by the immediate connection the two display, he purposefully takes up an attitude of animosity towards the shipwrecked prince, forbidding a relationship between the two in order that Ferdinand will place a higher value on his daughter’s affection.

During the encounter Miranda once again stands up to her father, arguing against his harsh treatment of Ferdinand and defending his honour when Prospero refers to him as nothing more than another Caliban.

Miranda’s next appearance is in the third act. She and Ferdinand take a few moments together to get acquainted and are quickly married. She insists on doing the work that her father has assigned him, and freely admits her naivety to him before swearing her love for him. The scene ends with their marriage, Miranda swearing she will be his servant if Ferdinand will not take her as his wife.

Later on, she and her new husband enjoy a masque put on by her father in celebration of their nuptials. The celebration is interrupted by Prospero’s sudden remembrance of Caliban’s plot against him, after which Miranda displays a strong concern for her father’s well-being.

Miranda and Ferdinand, observing the masque.

Her last appearance is in the play’s final scene. After Prospero reveals himself to the assembled crowd he reveals the happy couple engaged in a game of chess. Miranda is teasing Ferdinand for cheating but admits that even if he is dishonest, she’s more than happy to believe it for the love she bears for him.

When she is finally introduced to the assembled crowd she reacts with wonder, proclaiming the play’s most famous lines:

Circe Offering the Cup to Ulysses by John William Waterhouse

Waterhouse was motivated by Homer’s Odyssey when he painted this work. Circe was a beautiful and charming sorceress who transformed humans into animal creatures by giving them a magical wine to drink. Circe utilized magic on Ulysses’ men and transformed them into pigs while Ulysses (Odysseus) wasn’t around. Ulysses knowing of her magic received protection from Hermes to avert Circe’s magic. When he went to Circe, and she had him drink the wine mixture to transform him into a pig too. It didn’t work and Ulysses drew his sword on Circe who in fear asked him to have mercy. 

Artist: John William Waterhouse

Year: 1891

Medium: Oil on canvas

Dimensions: 175 cm × 92 cm (69 in × 36 in)

Location: Gallery Oldham, Oldham

John William Waterhouse’s Biography

Nationality	English
Date of Birth	6 April 1849
Date of Death	10 February 1917
Place of Birth	Rome, Roman Republic

John William Waterhouse emerged in the mid-19th century, during a period when the Industrial Revolution was in full effect and destitution was rampant in England’s poorest regions. Many experts in the world of art were revolting against the clean and accurate lines of the preceding Neoclassical era. They began to create artworks and sculptures that transported the observer to another universe, far away from the reality of daily life.

A Mermaid (1900) by John William Waterhouse; John William Waterhouse, Public domain, via Wikimedia Commons 

Early Life

The English painter, John William Waterhouse, was born in Rome in 1849 to English artists Isabella and William Waterhouse, in the same year that the Pre-Raphaelite Brotherhood – which included John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt – was generating a buzz in London’s art community. The actual date of his birth is uncertain; however, he was baptized on the 6th of April, and Peter Trippi, a subsequent researcher of John William Waterhouse’s paintings, believes he was probably born sometime between the 1st and 23rd of January.

In 1854, the family returned to England and settled in South Kensington, London, nearby the newly established Victoria & Albert Museum. Waterhouse grew up in an artistic household and was urged to produce art. He frequently drew paintings he saw at the National Gallery as well as the British Museum. In 1871, he enrolled at the Royal Academy of Art, first to study sculpting before transitioning to studying the art of painting.

Early Career

His initial works were not Pre-Raphaelite in character, but rather traditionally classical, in the manner of Frederic Leighton and Alma-Tadema. These early pieces were shown at the Society of British Artists, and his work Sleep and his Half-brother Death (1874) was included at the Royal Academy summer exhibition in 1874. Waterhouse’s artwork was a success, and he continued to show at the yearly exhibition until 1916, except for the years 1890 and 1915. He then rose through the ranks of the London art world, with his work After the Dance (1876) earning first place in that year’s summer show. Perhaps as a result of his popularity, his paintings grew larger and larger.

Sleep and his Half-brother Death (1874) by John William Waterhouse; John William Waterhouse, Public Domain, via Wikimedia Commons 

Later Career

Waterhouse wedded Esther Kenworthy in 1883, who had presented her own floral works at the Royal Academy and internationally. Waterhouse was elevated to the rank of full Academician in 1895. The Lady of Shalott, who dies of a strange curse after staring squarely at the handsome Lancelot, is one of Waterhouse’s most well-known themes. He produced three distinct versions of this figure between 1888 and 1916.

It depicts a woman dying in water, similar to The Lady of Shalott and other John William Waterhouse works. He might possibly have been influenced by John Everett Millais and Dante Gabriel Rossetti’s paintings of Ophelia. He exhibited his Ophelia (1888) to the Royal Academy in order to get his certificate. The work thereafter went missing until the 20th century. It is presently on exhibit in Lord Lloyd-collection.

The Lady of Shalott by John William Waterhouse

Waterhouse has painted three variants of this composition, first in 1888, then in 1894 and lastly in 1915. It is one of his most renowned works, done in the Pre-Raphaelite Brotherhood style. 

One of the The Lady of Shalott paintings was given to the general public by Sir Henry Tate in 1894 and can be viewed at the Tate Britain in London. 

The painting depicts the main character of Tennyson’s poem, titled: The Lady of Shalott (1842). In the poem, the Lady Shalott had been bound to her quarters on an island near the city of Camelot. She was cursed to stay in the tower and look at the outside world through a mirror reflection. 

The painting reveals the third part of the poem, where Sir Launcelot is seen by Sharlott and the sound of him singing takes her away from the tower and breaks her curse and she gets on a boat to go to the city of Camelot.

Artist: John William Waterhouse

Year: 1888

Medium: Oil on canvas

Dimensions: 183 cm × 230 cm (72 in × 91 in)

Location: Tate Britain, London

Джон Уильям Уотерхаус / John William Waterhouse

Биография мастера ниже, под картинами.

Леди из Шалотт. 1888

Пенелопа и женихи. 1912

Тщеславие. 1910

Магический кристалл. 1902

Диоген. 1882

Ариадна. 1898

Эхо и Нарцисс. 1903

Миранда. Буря. 1916

Тристан и Изольда с любовным эликсиром. 1916

Пробуждение Адониса. 1900

Леди из Шалотт. Я половина тени… 1915

Нарциссы. 1912

Мои любимые розы. 1903

В перистиле. 1874

Волшебница. 1911

Рассказ из Декамерона. 1916

Борей. 1902

Судьба. 1900

Аполлон и Дафна. 1908

Офелия. 1889

Полевые цветы. 1902

Study for The Lady Clare — 1900

Адонис и нимфы. 1896

Данаиды. 1904

Заклинательница. 1911

К прекрасной даме. 1893

Ламия. 1905

Нимфы, нашедшие голову Орфея. 1900

Магический круг. 1886

Одиссей и сирены. 1891 (Сирины по-нашему)

Офелия. 1894

Пандора. 1896

Психея, входящая в сад Купидона. 1904

Психея, открывающая золотой ларец. 1903

Русалка. 1901

Сирена. 1890

Цирцея. 1911

Биография мастера

Джон Уильям Уотерхаус (John William Waterhouse), английский художник.Джон Уильям Уотерхаус родился в 1849 в Риме, в семье художника. В 1850-х семья вернулась в Англию. Перед поступлением в Королевскию академическую школу в 1870 Уотерхаус помогал отцу в его студии. Живописи и скульптуре учился под руководством художника Пикерсгила. Ранние работы Уотерхауса на классические темы в духе сэра Лоренса Альмы-Тадема и Фредерика Лейтона, были показаны в Королевской Академии, Обществе британских художников и галерее Дадли.

В конце 1870-х и 1880-х Уотерхаус совершил несколько поездок в Италию. После брака с Эстер Кенуорти в 1883 Уотерхаус обосновался в Студиях Примроз Хилл. Там же проживали художники Артур Ракхэм и Патрик Колфилд. В 1884 Уотерхаус добивается признания, его картина “Леди из Шалот” была приобретена сэром Генри Тэйт, после выставки в Академии. Живописные работы этого периода показывают рост интереса Уотерхаус к темам связанным с прерафаэлитами, особенно к созданию образов трагических или властных роковых женщин (“Цирцея Инвидиоза”, 1892; “Клеопатра”, 1890; “Цирцея, завлекающая Одиссея”, 1891 и др.), а также к живописи пленэра.

В 1885 Уотерхаус был избран в Королевскую Академию, академиком стал в 1895. Его дипломной работой была “Нереида” (окончательный вариант картины в 1901).В середине 1880-х Уотерхаус много выставляется в галерее Гросвенор, Новой галерее, а также на провинциальных выставках в Бирмингеме, Ливерпуле и Манчестере. Картины этого периода широко показывались в Англии и за границей как часть международного движения символистов. В 1890-х Уотерхаус начинает писать портреты. С 1900-х годов принимает участие в различных общественных организациях художников и деятелей искусств Англии.Несмотря на страдания от наступившей болезни, Уотерхаус в течение последних десяти лет жизни продолжал активно заниматься живописью вплоть до своей смерти от рака в 1917 году.

Его часто относят к прерафаэлитам, хотя он формально и не принадлежал к этому течению. За свою жизнь он написал более двухсот полотен на мифологические, исторические и литературные сюжеты. Уотерхаус разделял интерес прерафаэлитов к сюжетам, заимствованным из поэзии и мифологии. Он безошибочно передавал драматизм момента, демонстрировал блестящее владение композицией и живописной техникой. Однако своей непреходящей популярностью художник обязан более всего очарованию его задумчивых моделей (считается, что при написании полотна «Леди из Шалот» моделью была жена художника).

В 1908-1914 он создает ряд картин, основанных на литературных и мифологических сюжетах (“Миранда”, “Тристан и Изольда”, “Психея”, “Персефона” и другие). В этих картинах он рисует свою любимую модель, недавно идентифицированную исследователями творчества Уотерхауса, Кеном и Кэти Бейкр, как мисс Мюриэл Фостер. Очень немного известно о частной жизни Уотерхауса — только несколько писем сохранилось до нашего времени и, собственно, много лет персоналии его моделей оставались тайной. Из воспоминаний современников также известно, что Мэри Ллойд, модель шедевра лорда Лейтона “Пылающий июнь”, позировала и для Уотерхауса. Эстер Уотерхаус пережила мужа на 27 лет, скончавшись в частном санатории в 1944 году.

* * *

Русский дух в англо-американской вариации
На Замковой горе людям давали языческие имена

Темы

Чудеса, магия и сила пророчества — общие темы в искусстве Уотерхауса. В частности, представление о женщине как о чародейке повторяется в таких изображениях, как « Цирцея, предлагающая чашу Улиссу» (1891, Художественная галерея Олдхэма) и « Гилас и нимфы» (1896, Художественная галерея Манчестер-Сити). Его творчество также включает ряд ближневосточных предметов, в которых он опирался на работы современных художников, таких как Дж. Ф. Льюис (1805–1876) и Лоуренс Альма-Тадема (1836–1912), а не на реальном опыте. Это одна из ранних работ Уотерхауза, которая отражает его увлечение экзотикой.

Who is John William Waterhouse?

John William Waterhouse was an English painter known for his Academic style paintings and Pre-Raphaelite Brotherhood art. Waterhouse is commonly known for portraying women in his art using old Greek folklore and Arthurian legend stories.

Waterhouse’s initial works were not all Pre-Raphaelite in nature they where very similar to Alma-Tadema and Frederic Leighton.

John William Waterhouse Famous Artworks:

1. The Lady of Shalott by John William Waterhouse
2. Hylas and the Nymphs by John William Waterhouse
3. Boreas by John William Waterhouse
4. Miranda — The Tempest by John William Waterhouse
5. The Soul of the Rose by John William Waterhouse
6. The Magic Circle by John William Waterhouse
7. Circe Offering the Cup to Ulysses by John William Waterhouse
8. Circe Invidiosa by John William Waterhouse
9. A Mermaid by John William Waterhouse
10. Echo and Narcissus by John William Waterhouse 

References [edit]

1. ^ Nostbakken, Faith. Understanding The Tempest. 1st. Westport, CT: Greenwood Publishing Group, 2004. Print.
2. ^ The Tempest. Act I, Scene II. 10–13.
3. ^ The Tempest. Act I, Scene II. 354–365. In later editions, Miranda’s lines here are often reassigned to Prospero. Please see section 4.1 for more information.
4. ^ «The Tempest». Act V, Scene I. 203–206
5. ^ The Tempest. Act III, Scene I. 47–48.
6. ^ Slights, Jessica. «Rape and Romanticization of Shakespeare’s Miranda.» SEL: Studies in English Literature 1500–1900. 42.2 (2001): 357–379.
7. ^ The Tempest. Act III, Scene I. 83–84.
8. ^ Neill, Michael. «»Noises,/Sounds and sweet airs»: The Burden of Shakespeare’s The Tempest.» Shakespeare Quarterly. 59.1 (2008): 36–59. Print.
9. ^ Sanchez, Melissa E. «Seduction and Service in The Tempest.» Studies in Philology. 105.1 (2008): 50–82. Print.
10. ^ Leninger, Lorrie Jerrell. «The Miranda Trap: Sexism and Racism in Shakespeare’s Tempest.» Trans. Array The Women’s Part: Feminist Criticism of Shakespeare. Carolyn Ruth Swift Lenz, Gayle Greene and Carol Thomas Neely. Chicago: University of Illinois Press, 1980. Print.
11. ^ Leninger, Lorrie Jerrell. «The Miranda Trap: Sexism and Racism in Shakespeare’s Tempest.» Trans. Array The Women’s Part: Feminist Criticism of Shakespeare. Carolyn Ruth Swift Lenz, Gayle Greene and Carol Thomas Neely. Chicago: University of Illinois Press, 1980. Print.
12. ^ The Tempest (Act III. i. 83–84)
13. ^ Slights, Jessica. «Rape and Romanticization of Shakespeare’s Miranda.» SEL: Studies in English Literature 1500–1900. 42.2 (2001): 357–379.
14. ^ Theobald. A New Variorum Edition of Shakespeare: The tempest. IX. Ed. Furness, Horace Howard. Philadelphia: J. B. Lippincott Company, 1892. 73–74. Print.
15. ^ Rev. Dr. Krauth. A New Variorum Edition of Shakespeare: The tempest. IX. Ed. Furness, Horace Howard. Philadelphia: J. B. Lippincott Company, 1892. 73–74. Print.
16. ^ «The Tempest», Act II, Scene II. 149.»
17. ^ Dickson. A New Variorum Edition of Shakespeare: The tempest. IX. Ed. Furness, Horace Howard. Philadelphia: J. B. Lippincott Company, 1892. 73–74. Print.
18. ^ Staunton. A New Variorum Edition of Shakespeare: The tempest. IX. Ed. Furness, Horace Howard. Philadelphia: J. B. Lippincott Company, 1892. 73–74. Print.
19. ^ Cartelli, Thomas. «After «The Tempest:» Shakespeare, Postcoloniality, and Michelle Cliff’s New, New World Miranda.» Contemporary Literature. 36.1 (1995): 82–102. Print.

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John William Waterhouse Paintings

Exploring the Depths of John William Waterhouse’s Mythological Themes

Dive into the mythological themes that permeate John William Waterhouse’s body of work, revealing the artist’s fascination with ancient legends and stories. This exploration uncovers how Waterhouse’s paintings, such as «Ulysses and the Sirens» and «The Siren,» bring to life the enchanting and often tragic tales from Greek mythology, Arthurian legend, and beyond.

By blending realistic portrayal with mythological storytelling, Waterhouse invites viewers into a world where the boundaries between reality and legend blur, highlighting his unique contribution to the Pre-Raphaelite movement.

The Enigmatic Women of John William Waterhouse’s Paintings

Unravel the mystery behind the enigmatic women who grace John William Waterhouse’s paintings. Characters like the beguiling «Lady of Shalott» and the doomed «Ophelia» are central to Waterhouse’s work, embodying both beauty and tragedy.

This discussion delves into the artist’s portrayal of women, not just as subjects of aesthetic admiration but as complex figures ensnared in their destinies. Waterhouse’s ability to capture the emotional depth and inner turmoil of his female subjects has cemented his legacy as a painter who deeply empathizes with his characters, offering viewers a glimpse into the souls of these iconic figures.

John William Waterhouse’s Contribution to the Pre-Raphaelite Movement

Examine John William Waterhouse’s significant contribution to the Pre-Raphaelite movement, highlighting his unique position as a bridge between the original Brotherhood and its later followers. Despite coming into prominence years after the movement’s inception, Waterhouse embraced and extended the Pre-Raphaelite principles of detailed naturalism, medieval themes, and complex compositions.

His work, characterized by its vivid storytelling and rich, sensuous detail, played a crucial role in the enduring popularity and evolution of Pre-Raphaelite art, making him a pivotal figure in this artistic lineage.

The Lyrical Beauty of Nature in Waterhouse’s Work

Celebrate the lyrical beauty of nature as captured in the canvases of John William Waterhouse. From the tranquil waters in «The Lady of Shalott» to the lush, verdant backgrounds of «Nymphs Finding the Head of Orpheus,» nature plays a starring role in Waterhouse’s art.

This segment explores how the artist uses natural settings not just as backdrops but as integral components of his narratives, imbuing his scenes with a sense of place and atmosphere. Waterhouse’s attention to the natural world’s detail and beauty underscores his paintings’ romantic and sometimes melancholic mood, drawing viewers into a harmonious relationship with the environment.

The Mastery of Emotion and Atmosphere in Waterhouse’s Paintings

Delve into John William Waterhouse’s mastery of emotion and atmosphere, which sets his paintings apart as evocative works of art. Whether portraying the intense longing of «Echo and Narcissus» or the tragic isolation of «The Lady of Shalott,» Waterhouse skillfully uses color, light, and composition to evoke strong feelings and create a palpable atmosphere.

This analysis highlights how Waterhouse’s art transcends mere representation, offering instead a window into the emotional landscapes of his subjects and inviting viewers to experience the depth of their stories firsthand.

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Notable John William Waterhouse Paintings

Waterhouse, such as the Pre-Raphaelite brothers from whom he drew so much influence, employed symbolism to create important themes in each work, giving his artworks a story. The artist employs the process of weaving as a representation of the women’s stagnant existence, continually waiting and occupying her time with useless pastimes, in his paintings that feature women weaving. Although attractiveness was one of Waterhouse’s prime priorities, this symbolism demonstrates that, like other pre-Raphaelite painters, he believed that art should have significance.

Echo and Narcissus (1903) by John William Waterhouse; John William Waterhouse, Public domain, via Wikimedia Commons

Waterhouse frequently drew many studies of the same person’s tale, demonstrating his ability to describe and modify individuals. This not only enthralls the audience but also demonstrates his development as an artist. Waterhouse, like many other painters of his period, sketched or painted from life models. Although there is no formal record of the sitter he employed, the artist’s personal letters suggest that his sister, wife, and sister-in-law all posed for him at various times. Some of his works include famous models of the time, such as Beatrice Flaxman and Jennifer Flora. Here is a list that includes several of the artist’s most notable artworks.

Artwork Title	Date Completed	Medium	Current Location
The Lady of Shalott	1888	Oil on canvas	The Tate Museum, London, United Kingdom
A Mermaid	1900	Oil on canvas	Royal Academy of Arts, London, England
The Crystal Ball	1902	Oil on canvas	Private collection
Echo and Narcissus	1903	Oil on canvas	Walker Art Gallery, Liverpool, England
Jason and Medea	1907	Oil on canvas	Private collection

Catalogue Note

In 1916 Waterhouse submitted three works to the Royal Academy: the group composition A Tale from the Decameron along with two single figure works «I am Half Sick of Shadows,» said the Lady of Shalott and Miranda-The Tempest.  As the titles suggest, Waterhouse had abandoned classical myths as subjects in favor of medieval and Renaissance narratives, often centering on a woman experiencing a revelation.  A conjoining motivation may have been patriotism inspired by the First World War, as many artists returned to themes from England’s past, including Arthurian legends and the works of Shakespeare. (Trippi, pp. 216-7).

The Tempest is one of Shakespeare’s most romantic plays, written late in his career, circa 1611; its original performance a year later coincided with the wedding of Elizabeth Stuart, the daughter of England’s James I to Frederick, the Elector Palatine, later King of Bohemia. Waterhouse first painted the play’s heroine Miranda in 1875.  This earlier work depicts the play’s titular storm clouds gathering, a ship in miniature on the horizon-line, and the blond maiden, dressed in an Antique costume, seated demurely on a beach rock.  While the artist experimented with another classicized study in a drawing of circa 1914-16, in contrast, the present, later composition heightens the dramatic intensity of the play’s first act in which «a brave vessel» carrying Miranda’s future lover, Ferdinand, is overtaken by violent waves and «dashed to pieces» (Act II;ii, 6;8).  With the present work Waterhouse demonstrates the breadth of his skill as Miranda braces herself against the rising storm, her thick, auburn hair and the weighty folds of her fabric gripped by the winds.   The pale hand held to her breast seemingly visualizes the moment when Miranda cries «Against my very heart. Poor souls, they perish’d./Had I been any god of power, I would/Have sunk the sea within the earth or ere. It should the good ship so have swallow’d» (Act I:11, 8;12). Miranda is helpless to defend the sailors against the tempest conjured by her magician father Prospero to destroy the ship of his evil bother Antonio, who marooned them on an enchanted island.

As with many of Waterhouse’s single-figure pictures of women, Miranda is a legendary, mystical woman withdrawn from the world, her future in peril (though Miranda’s tale is one of the rare happy endings for the artist’s maidens) (Hobson, J.W. Waterhouse, p. 137). The present workalso reflects Waterhouse’s fascination with magic, women, and the water recalling A Mermaid and The Siren (1900) (Trippi, p. 121-2).   Miranda, her expression hidden from the viewer in three quarter profile, becomes a decorative object of dangerous beauty, her body surrounded by the violent bruised blue waves, the broken bits of Ferdinand’s ship’s mast suggesting the destructive, transformative power of love. In its imaginative interpretation of its literary source, complex layers of visual and allegorical meaning, and demonstration of a lifetime of artistic achievement, Miranda-The Tempest is considered one of the artist’s most accomplished later works.  Waterhouse would return to the theme with a smaller scaled version of the present work exhibited at the Royal Academy in 1917 (Prettejohn, p. 192).

The Soul of the Rose by John William Waterhouse

This is one of the few paintings that Waterhouse painted not depicting an ancient tale. Instead, it shows a woman in a garden, this woman is believed to be the woman that Alfred Lord Tennyson wrote of in a poem. The poem talks about a woman who in her garden is thinking about a past lover. 

Below is a piece of the poem.’Come into the Garde, Maud’ by Alfred Lord TennysonCome into the garden, Maud,For the black bat, Night, has flown,Come into the garden, Maud,I am here at the gate alone;And the woodbine spices are wafted abroad,And the musk of the roses blown.For a breeze of morning moves,And the planet of Love is on high,Beginning to faint in the light that she lovesOn a bed of daffodil sky,To faint in the light of the sun she loves,To faint in his light, and to die.All night have the roses heardThe flute, violin, bassoon;All night has the casement jessamine stirr’dTo the dancers dancing in tuneTill a silence fell with the waking bird,And a hush with the setting moon.I said to the lily, «There is but oneWith whom she has heart to be gay.When will the dancers leave her alone?She is weary of dance and play. «Now half to the setting moon are gone,And half to the rising day;Low on the sand and loud on the stoneThe last wheel echoes away.I said to the rose, «The brief night goesIn babble and revel and wine.O young lordlover, what sighs are thoseFor one that will never be thine?But mine, but mine,» so I sware to the rose,»For ever and ever, mine. «And the soul of the rose went into my blood,As the music clash’d in the hall;And long by the garden lake I stood,For I heard your rivulet fallFrom the lake to the meadow and on to the wood,Our wood, that is dearer than all;From the meadow your walks have left so sweetThat whenever a March-wind sighsHe sets the jewelprint of your feetIn violets blue as your eyes,To the woody hollows in which we meetAnd the valleys of Paradise.The slender acacia would not shakeOne long milk-bloom on the tree;The white lake-blossom fell into the lake,As the pimpernel dozed on the lea;But the rose was awake all night for your sake,Knowing your promise to me;The lilies and roses were all awake,They sigh’d for the dawn and thee.Queen rose of the rosebud garden of girls,Come hither, the dances are done,In gloss of satin and glimmer of pearls,Queen lily and rose in one;Shine out, little head, sunning over with curls,To the flowers, and be their sun.There has fallen a splendid tearFrom the passion-flower at the gate.She is coming, my dove, my dear;She is coming, my life, my fate;The red rose cries, «She is near, she is near;»And the white rose weeps, «She is late;»The larkspur listens, «I hear, I hear;»And the lily whispers, «I wait. «She is coming, my own, my sweet;Were it ever so airy a tread,My heart would hear her and beat,Were it earth in an earthy bed;My dust would hear her and beat,Had I lain for a century dead;Would start and tremble under her feet,And blossom in purple and red.

Artist: John William Waterhouse

Year: 1908

Medium: Oil on canvas

Dimensions: 34¾ x 23¼ in. (88.3 x 59.1 cm.)

Location: Private collection

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