by Hunt, Waterhouse, Siddal, Egley
by Dante Gabriel Rossetti
Why do they choose the moment of the Lady's defiance?
|The Exotic & Chaotic background--
Please pay attention to the wall's dark tapestries, "upon which swirl the twisting bodies of angelic and allegorical figures, while the two roundels supporting the great mirror feature scenes of the Fall and the nativity [Wadsworth]" (Pearce 79)
sandals & samovars («X°ê»É³ý)
in the painting by Hunt
[The painting is]"littered with graphic symbols of the contradictory discourses (Celibacy and Romantic Love) by which the Lady has been interpellated. Between the Garden of Eden and the Virgin birth, the harem and the cloister, Hunt's Lady makes manifest the impossibility of her situation" (Pearce 78, 80)
|Hunt "allegedly intended his paintings and illustrations
to be read as reproving texts on the 'dereliction of duty'" (Pearce
Hunt analysed the text as a moral fable illustrating 'the failure of a human soul towards its accepted responsiblity" (qtd in Marsh 150).
Please pay attention to the strong limbs, the heavy hips and breasts, and the witch-like hair.
William Holman Hunt, The Lady of Shalott, 1857
|Is she a fallen woman or "snow-maiden"? Languorouss,
Doomed or expecting love?
John William Waterhouse
William Mau Egley, The Lady of Shalott 1858
a High Ggothic version full of antiquarian detail, a relatively early example of the influence of Pre-Raphaelite medievalism on other artists. ...with the authentic 14th-century costume, which 'clothes somewhat incongruously the patently Victorian figure of Mrs. Egley, who was the model" (Marsh 150-51).
Elizabeth Siddal, The Lady of Shalott, 1853
Dante Gabriel Rossetti, The Lady of Shallott, 1857
Wood engraving, 35/16 x 31/16 in.
Victoria and Albert Museum, London