During the Pre-Raphaelite era, art became a means not only of embodying beauty, but also of exploring the mystical and magical aspects of life. One of the most fascinating and continuously inspiring motifs for artists of this period was the theme of witches and magic. Witches permeated their work, not only as objects of mystical imagery, but also as symbols of strength, mystery and female emancipation. Let's consider how the Pre-Raphaelites embodied this theme in their canvases, creating extraordinary images where beauty is intertwined with the mysterious and enigmatic.
Mysterious Women: Witches in Pre-Raphaelite Art and Their Symbolism
"An artist is a person who sees beauty in ordinary things and is able to convey it to others." - Gustav Klimt
The Pre-Raphaelites wield a captivating allure, weaving a mesmerizing tapestry of beauty even amidst their portrayal of witches. Within the enigmatic gazes of the women adorning Pre-Raphaelite canvases, there lies a subtle yet palpable undercurrent of destruction, a haunting essence of malevolence. Is this merely a reflection of societal fear towards formidable and empowered women, as some feminists posit? Or does it echo the whispers of ancient myths and legends that ignited the imaginations of these visionary artists?
Delving into the depths of Pre-Raphaelite art unveils a realm where beauty dances hand in hand with darkness, where the delicate brushstrokes of a portrait conceal mysteries as old as time itself. Each stroke of paint on canvas becomes a thread in the intricate tapestry of human emotion and mythological symbolism, inviting us to ponder the enigma of femininity and power.
As we stand before these masterpieces, we cannot help but be drawn into a world where beauty and danger entwine, where the allure of the forbidden beckons with an irresistible charm. Perhaps, within the veiled allure of these paintings, lies not just a reflection of society's apprehensions but also a timeless reminder of the eternal dance between light and shadow, strength and vulnerability.
The dark side of the Pre-Raphaelites
If you find yourself drawn to the allure of "banal luxury", and seek to adorn your living room with an original painting, the Pre-Raphaelite style may appear as the epitome of perfection—each blade of grass and every fold of fabric rendered with exquisite beauty. Yet, the longer one gazes upon these works, the more palpable the sense of enchantment becomes, tinged with shades not always pure and innocent.
In Joanne Harris's haunting novel, "Heavenly Friend" (originally titled "The Evil Seed"), the sinister light cast upon the Pre-Raphaelite oeuvre takes on a chilling resonance.
"Proserpina gazes pensively and sorrowfully beyond the confines of the canvas. Her visage and hands, rendered with a dark, coffin-like narrowness, starkly pale against the backdrop. Her eyes, deep as the underworld itself, pierce through the soul, while her lips bear the crimson stain of blood. Clutching the pomegranate to her chest, forgotten yet clung to, its golden perfection marred by a gory slice that cleaves it in twain—a damning testament to Proserpina's consumption, her soul irrevocably lost."
Though the novel delves into the realm of vampires, its narrative casts a new light upon Rossetti's "Proserpina." Indeed, the Pre-Raphaelites may not have depicted vampires as understood by modern mass culture, but within their canvases, witches and sorceresses find their place, weaving spells of intrigue and mystery.
John William Waterhouse: not only the sorceress of Shalott
John William Waterhouse, a master of capturing the mystique of witchcraft and magic, offers a unique perspective within the realm of Pre-Raphaelite art. Unlike Frederick Sandys, whose witches exude malevolence, Waterhouse imbues his portrayals with a sense of introspection, intrigue, and perhaps even determination. While his "Crystal Ball" series, featuring young women gazing into mystical spheres, and his trio of paintings dedicated to the Sorceress of Shalott, entice viewers with the quintessential beauty of the Pre-Raphaelite aesthetic, "The Magic Circle" stands apart with its haunting atmosphere.
In "The Magic Circle," darkness reigns supreme, shrouding the scene in an aura of enigmatic allure. The canvas pulsates with the essence of mystery and exoticism, as all the trappings of witchcraft—crows, frogs, and crescent-shaped sickles—conspire to captivate the imagination of onlookers.
Take a closer look at the witch herself. Her dusky complexion hints at Oriental origins, while her attire is adorned in Persian motifs—a testament to Waterhouse's fascination with Eastern exoticism during the time of its creation. Here, within the confines of the canvas, East meets West, magic intertwines with reality, and the witch becomes a symbol of otherworldly power and allure, inviting us to delve deeper into the realms of fantasy and fascination.
Frederick Sandys: dangerous destroyers
Frederick Sandys, in stark contrast to his Pre-Raphaelite counterparts, depicted witches in a manner that was altogether more chilling and beguiling. His canvases often depicted tales of enchantresses who wielded their fatal beauty as a weapon, luring men to their doom with their perilous and bewitching abilities. Among his most renowned works are the haunting portrayals of "Vivienne" (the sorceress who ensnared and imprisoned Merlin within a crystal grotto), "Fairy Morgana" (a figure perceived as a malevolent force in Sandys's era), and "Medea."
In "Medea," Sandys drew inspiration from the gypsy Keomi Gray, whom he encountered in Norwich. The painting brims with symbolic elements of witchcraft—a toad, a crimson thread, toxic berries, and an idol—all meticulously woven into the composition. Yet, what truly lends an ominous air to the scene is the artist's masterful use of color and lighting. The palette exudes an icy chill, casting a pallor over Medea's features, while her eyes seem to gleam with an otherworldly intensity and her lips take on an eerie ashen hue.
The figure of Medea held a particular fascination for the Pre-Raphaelites, manifesting vividly in the works of artists like Valentin Prinsep. In his rendition, Medea is depicted amidst the dense foliage of a forest, gathering poisonous mushrooms for her nefarious concoctions. The sinuous form of a serpent lurking in the upper corner serves as a potent symbol of ancient malevolence, further underscoring Medea's connection to primordial forces of darkness and magic.
The insidious sorceress Sidonia von Bork
Let's delve into the intriguing tale of "Sidonia von Bork," a painting steeped in history and legend, echoing the dark allure of the 19th-century fascination with witches and sorcery.
In an era where the name Sidonia von Bork might elicit little recognition from modern audiences, her story once captivated the imaginations of many. Inspired by Wilhelm Meinhold's novel "Sidonia von Bork: The Monastic Witch," the painting unveils the chilling narrative of a woman condemned to death for witchcraft in 1620. Yet, Sidonia von Bork was no mere figment of fiction—she walked the corridors of history.
Legend has it that Sidonia, once beloved by Prince Ernest Louis von Wolgast, found herself ensnared in a web of forbidden love and familial disapproval. Rejected by her princely suitor's family, Sidonia retreated to the cloistered halls of a monastery, delving into the forbidden arts of black magic in a quest for vengeance against her would-be oppressors.
Edward Burne-Jones's portrayal of Sidonia von Bork captures her essence as a femme fatale, her countenance betraying a sinister resolve as she plots her next nefarious deed. Her gown, reminiscent of cobwebs, draws inspiration from the haunting elegance of Isabella d'Este's attire, adding a layer of Gothic allure to her portrayal. This haunting image finds echoes in popular culture, with similar motifs adorning the enigmatic wardrobe of characters like Beatrice d’Hirson in the French series "Cursed Kings" and the witch in Tim Burton's "Sleepy Hollow."
The legacy of Pre-Raphaelite art extends far beyond the realm of witchcraft and magic, influencing the aesthetics of mystical thrillers and Gothic tales. References to their captivating works abound in films like Guillermo del Toro's "Crimson Peak," where Millet's "Bridesmaid" lends its eerie beauty to the haunting atmosphere, and in "Maleficent," where Waterhouse's "Ophelia" serves as an ethereal touchstone. Thus, the allure of Pre-Raphaelite paintings continues to weave its spell over contemporary creators, infusing their narratives with a timeless sense of mystery and enchantment.
In Pre-Raphaelite art, witches became not just objects of depiction, but symbols of magic, mystery and power. Artists of this period boldly explored the mystical aspects of life, embodying them in their works and giving them a special aesthetic appearance. The witches on their canvases became an integral part of their universe, personifying mystery, attractiveness and intrigue. The theme of witches and magic continues to fascinate and inspire modern observers, continuing to be an important aspect of cultural heritage and art history. Thus, the work of the Pre-Raphaelites, with its mystical images of witches, remains an important source of inspiration and study for modern researchers and art lovers.
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