Masterpiece Stories

Painting Of The Week – John Everett Millais, Ophelia

Zuzanna Stańska 2 September 2018 min Read

When down her weedy trophies and herself Fell in the weeping brook. Her clothes spread wide; And, mermaid-like, awhile they bore her up: Which time she chanted snatches of old tunes; As one incapable of her own distress, Or like a creature native and indued Unto that element: but long it could not be Till that her garments, heavy with their drink, Pull’d the poor wretch from her melodious lay To muddy death.  ― William Shakespeare, Hamlet
Here she is, Ophelia from Shakespeare's play Hamlet, slipping and falling into a stream while picking flowers. Mad with grief after her father's murder by Hamlet, her lover, she has been making garlands of wildflowers. She climbed into a willow tree overhanging a brook to dangle some from its branches, and a bough breaks beneath her. She lied in the water singing songs as if unaware of her danger and she allowed herself to die. Looking like a martyr or a saint, with her open arms and upward gaze. This pose has also been interpreted as erotic. [caption id="attachment_15587" align="alignnone" width="1000"]John Everett Millais Ophelia John Everett Millais, Ophelia, 1851 -1852, Tate Britain, London Sir John Everett Millais, Ophelia, 1851 -1852, Tate Britain, London, UK[/caption] Ophelia's death has been praised as one of the most poetically written death scenes in the history of literature. But the episode itself is not usually seen in theatres, as in Shakespeare's text it exists only in Queen Gertrude's description. In the play, everything took place in Denmark, but of course, the landscape from the painting has come to be seen as quintessentially English. Ophelia was painted along the banks of the Hogsmill River in Surrey, near Tolworth, Greater London. The flowers shown floating on the river were chosen to correspond with Shakespeare's description of Ophelia's garland but they also carry a symbolic meaning. The prominent red poppy—not mentioned in Shakespeare's description of the scene—represents sleep and death. Daisies represent innocence and pansies love in vain. The painting is known for its very close depiction of the detailed flora of the river. [caption id="attachment_15588" align="alignnone" width="1000"]John Everett Millais Ophelia John Everett Millais, Ophelia (detail), 1851 -1852, Tate Britain, London Sir John Everett Millais, Ophelia (detail), 1851 -1852, Tate Britain, London, UK[/caption] Millais painted Ophelia in two separate stages: first, he painted the landscape, and then the figure of a girl. Ophelia was modeled by the future wife of Dante Gabriel Rossetti, artist and muse Elizabeth Siddal, then 19 years old. Millais had her lie fully clothed in a very fine silver embroidered dress bought by Millais from a second-hand shop for four pounds in a bathtub full of water in his studio in London. The problem was that everything happened in the middle of winter. The artist placed oil lamps under the tub to warm the water but was so intent on his work that he allowed them to go out. As a result, Siddal caught a severe cold, and her father later sent Millais a letter demanding £50 for medical expenses. [caption id="attachment_15590" align="alignnone" width="953"]John Everett Millais Ophelia Sir John Everett Millais, Study for the head of Elizabeth Siddal 1852, © Birmingham Museums and Art Gallery Sir John Everett Millais, Study for the head of Elizabeth Siddal 1852, © Birmingham Museums and Art Gallery, UK[/caption] When Ophelia was first publicly exhibited at the Royal Academy in London in 1852, it received mixed reviews. A critic in The Times wrote that there must be something strangely perverse in an imagination which souses Ophelia in a weedy ditch, and robs the drowning struggle of that lovelorn maiden of all pathos and beauty, while a further review in the same newspaper said that Mr. Millais's Ophelia in her pool ... makes us think of a dairymaid in a frolic. But later everything changed. Now the piece is admired as one of the most important works of the mid-nineteenth century for its beauty.

Find out more:

[easyazon_image align="none" height="110" identifier="0714839779" locale="US" src="https://www.dailyartmagazine.com/wp-content/uploads/2018/08/51uXn6i6GhL.SL110.jpg" tag="dailyartdaily-20" width="97"]   [easyazon_image align="none" height="110" identifier="1854376675" locale="US" src="https://www.dailyartmagazine.com/wp-content/uploads/2018/08/51OfVM72By5L.SL110.jpg" tag="dailyartdaily-20" width="87"]   [easyazon_image align="none" height="110" identifier="0691007209" locale="US" src="https://www.dailyartmagazine.com/wp-content/uploads/2018/08/510H07JQBHL.SL110.jpg" tag="dailyartdaily-20" width="89"]

 

Recommended

Masterpiece Stories

Masterpiece Story: Journey of Thomas Gainsborough’s Blue Boy

Originally titled A Portrait of a Young Gentleman, this iconic painting by Thomas Gainsborough was first presented at the Royal Academy exhibition of...

Maya Tola 29 November 2021

Yaxchilán Lintel 24, 723-726 CE, Limestone, Temple 23, Yaxchilán, Mexico, British Museum, London, UK. Detail. Masterpiece Stories

Masterpiece Stories: Yaxchilán Lintel 24

Yaxchilán Lintel 24 is an iconic image of Pre-Columbian art. It easily represents the vitality, mystery, and fascination surrounding the Mayan...

James W Singer 27 November 2021

Jan van Eyck, The Arnolfini Portrait (detail), 1434, The National Gallery, London, England. Masterpiece Stories

Masterpiece Story: The Arnolfini Portrait

The Arnolfini Portrait is as enigmatic as it is iconic. Painted by Jan van Eyck in 1434, it spawns a lot of speculation – over half a century...

Vithória Konzen Dill 4 November 2021

Masterpiece Stories

Masterpiece Stories: Nicolaes Maes, Old Woman Dozing

Introduction 123 ABC. Nicolaes Maes, Old Woman Dozing, ca 1656, Musées Royaux des Beaux-Arts de Belgique, Brussels,...

James W Singer 24 October 2021