Hi, my name is Rebecca and I’m a first year student studying English and History of Art.
I have had an interest in Victorian art and literature for a number of years. On my visits to Tate Britain, I am often drawn to one piece in particular. The Lady of Shalott, painted in 1888, is one of John William Waterhouse’s most renowned pieces.
The painting depicts the protagonist of Alfred Tennyson’s melancholic poem of the same title. The poem tells of a young woman confined to a tower and forbidden from observing the outside world unless through a mirror, but once she catches the reflection of Lancelot, she is unable to resist looking at him directly and as a result, a curse is unleashed. The poem concludes with the Lady of Shalott’s death, her ultimate punishment, as she drifts on her boat down the river.
The subject was popular among many British artists at the time, in particular, the members of the Pre-Raphaelite Brotherhood. While Waterhouse’s work is often associated with the Pre-Raphaelites, his style differs from the meticulous detail and vivid colours used by artists such as William Holman Hunt. Instead, Waterhouse employs techniques associated with French naturalism. This can be seen in his use of square brushwork in the background of the piece and the subdued colour scheme.
What interests me most about this piece is Waterhouse’s use of symbolism.
For example, the rosary beads and crucifix pictured on the boat signify that the Lady of Shalott’s death is impending, as well as demonstrating her spirituality.
This is reiterated by the three candles placed on top of the boat. The fact that two of the candles have been extinguished suggests that she is in her final moments.
Two swallows swoop down towards the water in the left-hand corner of the piece; these birds that reappear every spring symbolise resurrection.
One more troubling aspect of this painting is Waterhouse’s glorification of the demise of a beautiful woman, which is a recurring theme in his work. This can be seen in an earlier painting by Waterhouse, Saint Eulalia, which was first exhibited in 1885. It depicts the body of a twelve-year-old girl who was martyred for refusing to make sacrifices to the Roman Gods. The theme of a doomed or fallen woman is present in a great deal of Victorian art and literature. The tale of The Lady of Shalott, with its themes of desire, oppression and punishment, can be to linked Victorian attitudes toward female sexuality and the increased independence of women.
I most recently visited Olafur Eliasson: In Real Life at Tate Modern. This compelling exhibition showcases over forty pieces which date from 1990 to the present day, demonstrating the development and breadth of Olafur Eliasson’s work over the last thirty years. In much of his work, Eliasson seeks to engage the senses and alter the perceptions of the viewer. The majority of the exhibition comprises sculptures and installations, for which the artist utilises a vast range of unconventional materials, including Icelandic moss, glacial melt-water and fog. Many pieces have been created on a huge scale, resulting in work which is both immersive and powerful.
Your Uncertain Shadow is a particularly striking installation. Silhouettes of each visitor entering the space are cast onto a blank wall using a set of spotlights in five different colours. As the visitor moves around the space the shadows vary in size and intensity, and as more people enter the space the shadows overlap, resulting in a mesmerising display of light and colour. For Eliasson, the interactive nature of works like these creates a heightened sense of awareness in the viewer of their impact on the world around them.
Din Blinde Passager, or Your Blind Passager, is another memorable piece. In this installation, the visitor walks through a 39-metre tunnel filled with dense, luminous fog. The low visibility is disorientating and the visitor is forced to rely on their other senses as they progress through the tunnel. This piece highlights the relativity of our senses, as well as forcing the visitor to be present.
Overall, I valued the accessibility of the exhibition; it is inclusive and enjoyable for all visitors, regardless of whether they have any knowledge of modern art.
I’m pleased with the opportunity to be a part of the Norman Rea Gallery blog team and I’m looking forward to being involved with upcoming exhibitions.
Written by Rebecca Rice-Thomas
We warmly welcome Rebecca to the Norman Rea's Blog team!
Other pieces written by and introducing our other team members will be featured on our blog in the upcoming weeks.
If you are interested in writing for our blog email our editor Rosie Day at editor.normanrea@gmail.com