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218:(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
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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
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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.
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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.
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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
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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
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The painting contains a range of bright colours typical of the Pre-Raphaelites. It pictures the titular character of
Tennyson's poem, also titled
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A Converted
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504:"Pictures by J.W. Waterhouse: I am Half-Sick of Shadows, said the Lady of Shalott"
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590:"The Moxon Tennyson as Textual Event: 1857, Wood Engraving, and Visual Culture"
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167:. Waterhouse painted three versions of this character, in 1888, 1894 and 1915.
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Potwin, L.S. (December 1902). "The Source of
Tennyson's The Lady of Shalott".
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183 cm × 230 cm (72 in × 91 in)
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The Quest for the Grail: Arthurian Legend in
British Art, 1840–1920
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The Quest for the Grail: Arthurian Legend in
British Art, 1840–1920
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Stein, Richard L. (Spring 1981). "The Pre-Raphaelite Tennyson".
105:. Waterhouse painted three versions of this character, in 1888,
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BRANCH: Britain, Representation and Nineteenth-Century History
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poets and painters and was illustrated by such artists as
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The Lady has a lantern at the front of her boat, and a
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484:"I am Half-Sick of Shadows, said the Lady of Shalott"
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I Am Half-Sick of Shadows, Said the Lady of Shalott
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I Am Half-Sick of Shadows, Said the Lady of Shalott
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I Am Half-Sick of Shadows, Said the Lady of Shalott
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I am Half-Sick of Shadows, said the Lady of Shalott
633:. Washington, D.C.: National Gallery of Art, 1997.
454:"Pictures by J.W. Waterhouse: The Lady of Shalott"
1941:Paintings based on works by Alfred, Lord Tennyson
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722:The Unwelcome Companion: A Street Scene in Cairo
426:(8). Johns Hopkins University Press: 237–239.
314:Tennyson's verse was popular with many of the
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93:is a painting of 1888 by the English painter
537:. Manchester University Press. p. 189.
352:List of paintings by John William Waterhouse
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631:The Victorians: British Painting, 1837–1901
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361:(1905), a painting by William Holman Hunt
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566:(3). Indiana University Press: 278–301.
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802:The Lady of Shalott Looking at Lancelot
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127:in 1894 and is usually on display in
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262:From part IV of Tennyson's poem:
1951:Collection of the Tate galleries
955:Commons: John William Waterhouse
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269:Like some bold seer in a trance,
267:And down the river's dim expanse
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890:Gather Ye Rosebuds While Ye May
882:Gather Ye Rosebuds While Ye May
188:Art Gallery of Ontario, Toronto
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1309:Robert Braithwaite Martineau
609:"Pre-Raphaelitism in Poetry"
271:Seeing all his own mischance
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933:Esther Kenworthy Waterhouse
533:Poulson, Christine (1999).
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662:Waterhouse at Tate Britain
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115:Pre-Raphaelite Brotherhood
103:1832 poem of the same name
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338:(1893) from the poem by
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275:Did she look to Camelot.
131:, London, in room 1840.
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1822:Marie Spartali Stillman
1409:John William Waterhouse
1394:John Melhuish Strudwick
1389:Marie Spartali Stillman
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698:John William Waterhouse
273:With glassy countenance
95:John William Waterhouse
42:John William Waterhouse
1483:The Light of the World
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1167:Dante Gabriel Rossetti
1100:La Damigella di Scalot
786:Ulysses and the Sirens
489:Art Gallery of Ontario
320:Dante Gabriel Rossetti
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207:Leeds City Art Gallery
1628:A Vision of Fiammetta
1532:The Hireling Shepherd
1244:Georgiana Burne-Jones
995:Alfred, Lord Tennyson
746:Consulting the Oracle
420:Modern Language Notes
390:Riggs, Terry (1998).
306:in her final voyage.
283:The Lady of Shalott.
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1746:Hylas and the Nymphs
1299:Edward Robert Hughes
1264:Frank Cadogan Cowper
1209:Lawrence Alma-Tadema
1162:John Everett Millais
1049:(Hunt, c. 1888-1905)
834:Mariana in the South
818:Hylas and the Nymphs
636:Poulson, Christine,
1946:Arthurian paintings
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1703:The Lady of Shalott
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464:on 18 November 2016
358:The Lady of Shalott
328:William Holman Hunt
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216:The Lady of Shalott
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121:The Lady of Shalott
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24:The Lady of Shalott
1961:Maritime paintings
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1339:Christina Rossetti
1279:Henry Treffry Dunn
1239:Edward Burne-Jones
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1817:Jane Morris
1807:Sophie Gray
1753:Lady Godiva
1640:The Beloved
1579:Roman Widow
1572:Lady Lilith
1431:well-known
1349:Emma Sandys
1344:John Ruskin
1197:Associated
1146:(paintings)
161:King Arthur
135:Description
1930:Categories
1913:Effie Gray
1802:Effie Gray
1621:Proserpine
1539:April Love
1219:John Brett
1009:Characters
646:0719055377
518:7 December
468:7 December
403:7 December
340:John Keats
332:John Keats
68:Dimensions
845:(c. 1900)
842:The Siren
714:Paintings
294:Arthurian
240:in 1894.
1864:The Germ
1021:Lancelot
588:(2013).
346:See also
304:retainer
227:crucifix
220:tapestry
142:an 1888
82:, London
76:Location
1856:Related
1476:Mariana
1448:Ophelia
1201:figures
1092:Related
926:Related
826:Pandora
810:Ophelia
624:Sources
572:3827028
440:2917812
165:Camelot
1785:Models
1769:(Hunt)
1718:Lilith
1003:(1833)
935:(wife)
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257:lament
205:, 1894
186:, 1915
58:Medium
38:Artist
1546:Found
1433:works
1429:Some
1073:Other
568:JSTOR
436:JSTOR
366:Notes
296:epic
1739:Hope
1518:Work
642:ISBN
539:ISBN
520:2013
470:2013
405:2013
111:1915
109:and
107:1894
52:1888
48:Year
1725:Eos
1030:Art
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