27 Classic Works of Art, John William Waterhouse's Marine Paintings of Mermaids - 3

John William Waterhouse (April 6, 1849 – February 10, 1917) was an English painter known for working in the Pre-Raphaelite style. He worked several decades after the breakup of the Pre-Raphaelite Brotherhood, which had seen its heyday in the mid-nineteenth century, leading to his sobriquet "the modern Pre-Raphaelite". Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists, his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.

John William Waterhouse - 1892-1900
Sketch for 'A Mermaid', c. 1892
Oil on canvas 
Height: 33.34 cm (13.13 in.), Width: 19.37 cm (7.63 in.)

Born in Italy to English parents who were both painters, he later moved to London, where he enrolled in the Royal Academy of Art. He soon began exhibiting at their annual summer exhibitions, focusing on the creation of large canvas works depicting scenes from the daily life and mythology of ancient Greece. Later on in his career he came to embrace the Pre-Raphaelite style of painting despite the fact that it had gone out of fashion in the British art scene several decades before. More

John William Waterhouse - 1892-1900
Study for The Mermaid, half-length
Black chalk
19.38 X 17.38 in (49.21 X 44.13 cm)

John William Waterhouse - 1892-1900
A Mermaid (Study)
Oil on canvas, circa 1892
14 x 10 in
Kelley Gallery, Pasadena, California, USA

Almost every civilization has believed that life began in the sea and so water has been identified as female and associated with women. In mythology, the treacherousness of water is personified as alluring and irresistible women without souls who lure unwary men to a watery death. They may appear as mermaids, sirens, undines, ladies of the lake, nixies, or water nymphs. More

John William Waterhouse (1849–1917)
Sketch for A Mermaid , c.  1892 and 1895
Oil on canvas
70.5 × 45.2 cm (27.8 × 17.8 in)


John William Waterhouse - 1892-1900
A Mermaid, c. 1901
Oil on canvas 
Height: 33.34 cm (13.13 in.), Width: 19.37 cm (7.63 in.)

Waterhouse was known for his depictions of fictional female characters from mythology, literature and fairytales. This mermaid is coming her hair; an iconic image that would make its way into the Disney film as the Little Mermaid.

John William Waterhouse - 1892-1900
The Siren, c. 1900
Oil on canvas 
Height: 33.34 cm (13.13 in.), Width: 19.37 cm (7.63 in.)

The painting depicts a siren sitting at the edge of a cliff, lyre in hand, staring down at a shipwrecked sailor floating in water, who in turn is staring up at her. More

"He listened in thrall to the song of the siren, Her voice like a star as it flew through the air. He drowned in her eyes as she called him to follow, And likened the sun to the gold of her hair.

She swept up her arms and held him close to her, Her soft lips caressing the lines on his brow. He could not resist her, a magic had trapped him, And nothing could save him, for she had him now.

She pulled him down with her into the clear water, He gasped as death started the grip on his soul. His life ebbed away as she dragged him still further, And laughed when she saw she'd accomplished her goal." - Charlotte Lester

John William Waterhouse (1849–1917)
Hylas and the Nymphs, c. 1896
Oil on canvas
132.1 × 197.5 cm (52 × 77.8 in)
Manchester Art Gallery

In Greek mythology, Hylas was the son of King Theiodamas of the Dryopians. While Roman sources state that Hylas' father was Hercules and his mother was the nymph Melite, or that his mother was the wife of Theiodamas, whose adulterous affair with Heracles caused the war between him and her husband.

After Heracles killed Theiodamas in battle, he took on Hylas as arms bearer and taught him to be a warrior. He took Hylas with him on the Argo, making him one of the Argonauts. Hylas was kidnapped by nymphs of the spring of Pegae, and vanished without a trace. This upset Heracles greatly, and he searched for him at great length. The ship set sail without them. According to the Latin Argonautica of Valerius Flaccus, he never found Hylas because he had fallen in love with the nymphs and remained "to share their power and their love." More

John William Waterhouse (1849–1917)
STUDY FOR A NYMPH IN HYLAS AND THE NYMPHS
charcoal, white chalk and penci
16.54 X 12.6 in (42 X 32 cm)

A nymph, in Greek mythology and in Latin mythology is a minor female nature deity typically associated with a particular location or landform. Different from other goddesses, nymphs are generally regarded as divine spirits who animate nature, and are usually depicted as beautiful, young maidens who love to dance and sing; their amorous freedom sets them apart from the restricted and chaste wives and daughters of the Greek polis.

John William Waterhouse (1849–1917)
Study for Hylas and the Nyphs ( Detail )
Pencil
20x13,5 cm

They are beloved by many and dwell in mountainous regions and forests by lakes and streams. Although they would never die of old age nor illness, and could give birth to fully immortal children if mated to a god, they themselves were not necessarily immortal, and could be beholden to death in various forms. Charybdis and Scylla were once nymphs. More

John William Waterhouse (1849–1917)
Study for Hylas and the Nyphs ( Detail )
Pencil

John William Waterhouse (1849–1917)
Study for Hylas and the Nyphs
oil on canva

John William Waterhouse (1849–1917)
Study for Hylas and the Nymphs, c. 1896
Oil on canvas

John William Waterhouse (1849–1917)
A Naiad or Hylas with a Nymph, c. 1893
Oil on canvas

John William Waterhouse (1849–1917)
Study for A Naiad or Hylas with a Nymph, c. 1893
Oil on canvas

J.W. Waterhouse
Ulysses and the Sirens, c. 1891
Oil on canvas
100 x 201.7 cm
National Gallery of Victoria, Melbourne, Victoria, Australia

The Greek hero Odysseus (English: Ulysses), forewarned by the sorceress Circe, escaped the danger of the Siren's song by stuffing the ears of his crew with wax so that they were deaf to the Sirens; yet he was able to hear the music and had himself tied to the mast so that he could not steer the ship out of course. More

J.W. Waterhouse
Ulysses and the Sirens, c. 1891
Detail

J.W. Waterhouse
Ulysses and the Sirens, c. 1891
Detail

J.W. Waterhouse
Ulysses and the Sirens, c. 1891
Detail

A siren in Greek mythology was a creature half bird and half woman who lured sailors to destruction by the sweetness of her song. According to Homer there were two Sirens on an island in the western sea between Aeaea and the rocks of Scylla. Later the number was usually increased to three, and they were located on the west coast of Italy, near Naples. They were variously said to be the daughters of the sea god Phorcys or of the river god Achelous. More

The lamia is a siren in Basque mythology. Lamiak live in the river. They are very beautiful, and stay at the shore combing their long hair with a golden comb; they easily charm men. They have duck feet. In coastal areas, some believed that there were itsaslamiak in the sea, who had fish tails - a kind of mermaid.

John William Waterhouse (1849–1917)
Lamia (second version), c. 1909
Oil on canvas
36 × 22.5 in (91.4 × 57.2 cm)

Lamiak help those who give them presents by providing them with help at work; if a farmer left them food at the river shore, they would eat it at night and in exchange would finish a field he had left unploughed. In some places, bridges were believed to have been built by lamiak.

John William Waterhouse (1849–1917)
Vain Lamorna, A Study for Lamia
Oil on canvas
55 × 74 cm (21.7 × 29.1 in)

In some places lamiak had to go away if the bridge they were building at night was left unfinished at cockcrow. People believed that lamiak had left a river if a stone of the bridge was missing. Most lamiak disappeared when men built small churches in the forest.

John William Waterhouse (1849–1917)
Lamia, c. 1905
Oil on canvas

A lamia is at the other side of the rainbow combing her hair. When the sun lights her hair, the rainbow opens. More

John William Waterhouse (1849–1917)
Nymphs Finding the Head of Orpheus, c. 1900
Oil on canvas
99 × 149 cm (39 × 58.7 in)

Orpheus was a legendary musician, poet, and prophet in ancient Greek religion and myth. The major stories about him are centered on his ability to charm all living things and even stones, with his music, his attempt to retrieve his wife, Eurydice, from the underworld, and his death at the hands of those who could not hear his divine music.

John William Waterhouse (1849–1917)
Head of Orpheus - a Sketch
Oil on board
35.50cm high, 26.50cm wide

John William Waterhouse (1849–1917)
Study for Nymphs Finding the Head of Orpheus, c. 1900
oil on canvas
51 × 91 cm (20.1 × 35.8 in)
Northumbria University Gallery

Orpheus took part in this adventure and used his skills to aid his companions, travelling as an Argonaut. Chiron told Jason that without the aid of Orpheus, the Argonauts would never be able to pass the Sirens—the same Sirens encountered by Odysseus in Homer's epic poem the Odyssey. 

John William Waterhouse (1849–1917)
Study for Nymphs Finding the Head of Orpheus, c. 1900
Oil on canvas

Orpheus had abstained from the love of women, either because things ended badly for him, or because he had sworn to do so. Yet, many felt a desire to be joined with the poet, and many grieved at rejection.

Feeling spurned by Orpheus, the Ciconian women first threw sticks and stones at him as he played, but his music was so beautiful even the rocks and branches refused to hit him. Enraged, the women tore him to pieces during the frenzy of their Bacchic orgies.

John William Waterhouse (1849–1917)
Study for Nymphs Finding the Head of Orpheus, c. 1900
Oil on canvas

His head and lyre, still singing mournful songs, floated down the swift Hebrus to the Mediterranean shore. There, the winds and waves carried them on to the Lesbos shore, where the inhabitants buried his head and a shrine was built in his honour near Antissa. More

John William Waterhouse (1849–1917)
The Charmer, Brizo, c. 1911

Brizo is known as a charmer, and a soother. In Greek mythology, she is a goddess worshipped at Delos and honored by women as the protector of mariners. Food offerings were set before the goddess in little boats (no fish). Brizo presided over an oracle that was consulted on matters relating to navigation and fishing. Her answers were given in dreams. More


Please visit my other blogs: Art CollectorMythologyMarine Art, and The Canals of Venice

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

01 Paintings, RELIGIOUS ART - Paintings from the Bible, Master of the Saint Godelieve Legend, with footnotes, 4

Saint Godelieve (c. 1049 – July 6, 1070) is a Flemish saint. Tradition, as recorded in her Vita, states that she was pious as a young girl, and became much sought after by suitors as a beautiful young woman. Godelieve, however, wanted to become a nun. A nobleman named Bertolf of Gistel, however, determined to marry her, successfully invoked the help of her father's overlord, Eustace II, Count of Boulogne. Godelieve's mother-in-law soon forced the young bride to live in a narrow cell with little food to support her. Godelieve shared this food with the poor.

Master of the Saint Godelieve Legend (Netherlandish, active fourth quarter 15th century)
The Life and Miracles of Saint Godelieve
Oil on wood
49 1/4 x 126 3/8 in. (125.1 x 311 cm)
The Metropolitan Museum of Art

Bertolf also spread false rumors about her; the marriage was not consummated.

Godelieve managed to escape to the home of her father, Hemfrid, seigneur of Wierre-Effroy. Hemfrid, appealing to the Bishops of Tournai and Soissons and the Count of Flanders, managed to have Bertolf restore Godelieve to her rightful position as his wife. Godelieve returned to Gistel and soon after, at the order of Bertolf, was strangled by two servants and thrown into a pool, to make it appear as if she had died a natural death.

Master of the Saint Godelieve Legend (Netherlandish, active fourth quarter 15th century)
The Life and Miracles of Saint Godelieve
Panel 1

The seven scenes illustrate the life of Godelieve of Gistel. The narrative of her unhappy marriage, and murder at her husband’s orders, begins on the far left where Godelieve, marked by a halo, appears with her parents and two sisters.

Master of the Saint Godelieve Legend (Netherlandish, active fourth quarter 15th century)
The Life and Miracles of Saint Godelieve
Panel 2

The second panel provides evidence of Godelieve’s sanctity, showing her feeding the poor from household supplies. When a servant checks, on her father’s orders, the stolen food hidden in her dress has turned into wood chips.

Master of the Saint Godelieve Legend (Netherlandish, active fourth quarter 15th century)
The Life and Miracles of Saint Godelieve
Panel 3

In the third panel Godelieve’s parents entertain the count of Boulogne who has come to urge Godelieve’s marriage to the knight Bertolf. In the background Godelieve has given delicacies intended for the guest to the poor and prays for God’s help; angels bring dishes of food for the feast.

Master of the Saint Godelieve Legend (Netherlandish, active fourth quarter 15th century)
The Life and Miracles of Saint Godelieve
Panel 4

 In the fourth panel Godelieve weds Bertolf.

Master of the Saint Godelieve Legend (Netherlandish, active fourth quarter 15th century)
The Life and Miracles of Saint Godelieve
Panel 5

The fifthsection features Bertolf and his mother who hates Godelieve and turns her son against his new wife. The servant girl is set to spy on Godelieve’s activities.

Master of the Saint Godelieve Legend (Netherlandish, active fourth quarter 15th century)
The Life and Miracles of Saint Godelieve
Panel 6

In this sixth panel Godelieve is murdered by Bertolf’s two men, Lambert and Hacca. In the background the events leading up to the climactic scene lend further pathos: (1)Bertolf pretends affection for his wife in order to persuade her to meet with an old woman who will supposedly bring love to their marriage and (2) a vulnerable Godelieve is led from her bed by the two murderers who don’t give her time to put anything over her shift.

Master of the Saint Godelieve Legend (Netherlandish, active fourth quarter 15th century)
The Life and Miracles of Saint Godelieve
Panel 7

In the final panel, the two men lower Godelieve's body head first into a well to wash away any signs of struggle and verify that she is dead. Next they arrange her corpse in bed to pass off the death as natural. In the background the painter presents four miracles posthumously performed by the saint. More

This fully intact altarpiece was perhaps commissioned by the Guild of the Load Bearers in Bruges for their chapel in the "Onze-Lieve-Vrouwekerk" (Church of Our Lady). When closed, four saints––Josse, Nicholas, Quirinus, and John the Baptist––and two kneeling donors are visible. When open for the celebration of Mass, worshipers saw displayed for their edification the life and miracles of Saint Godelieve, patroness of Flanders. More

Master of the Saint Godelieve Legend (Netherlandish, active fourth quarter 15th century)
The Life and Miracles of Saint Godelieve
 the exterior panels of the Godelieve altarpiece
Oil on wood
49 1/4 x 126 3/8 in. (125.1 x 311 cm)
The Metropolitan Museum of Art

The figures from left to right are: Saints Josse, Nicholas of Bari, Quirinus, and John the Baptist, with two male donors.

Bertolf married again, and had a daughter Edith, who was born blind: the legend states that Edith was cured through the intercession of Saint Godelieve. Bertolf, now repentant of his crimes, went to Rome to obtain absolution. He went on a pilgrimage to the Holy Land, and became a monk at St. Winnoc's Abbey at Bergues.

Edith founded a Benedictine monastery at Gistel, which was dedicated to Saint Godelieve, which she joined herself as a nun. More


Images are copyright of their respective owners, assignees or others

06 Classic Works of Art, Gustav Klimt's Marine Paintings of Mermaids - 2

Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objets d'art. Klimt's primary subject was the female body, and his works are marked by a frank eroticism. In addition to his figurative works, which include allegories and portraits, he painted landscapes. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art and its methods.

Early in his artistic career, he was a successful painter of architectural decorations in a conventional manner. As he developed a more personal style, his work was the subject of controversy that culminated when the paintings he completed around 1900 for the ceiling of the Great Hall of the University of Vienna were criticized as pornographic. He subsequently accepted no more public commissions, but achieved a new success with the paintings of his "golden phase," many of which include gold leaf. More

Gustav Klimt
Fischblut, c. 1898
Fish blood

Gustav Klimt may never have set foot in Japan, but his drawing “Fishblood” shows just how deeply he was influenced by Japanese art.

Asian art, in particular Japanese prints and pattern books, “had an enormous influence on Klimt during the years in which he turned to Symbolism and ultimately to the Secession,” an Austrian art movement spearheaded by Klimt that rejected the academic establishment and brought avant-garde art to Vienna. More

Gustav Klimt
Mermaids, c. 1899
Oil on canvas
52 × 65 cm

The painting clearly derives from Klimt's pen and ink drawing Fish Blood (above), which was reproduced in the third issue of Ver Sacrum. Klimt seems to have enjoyed working in pen and ink; quite possibly the absence of colour allowed him to concentrate on the composition. 

Gustav Klimt
Mermaids, c. 1899
Detail

In Flowing Water, Klimt has been able to leave the bottom right-hand corner completely empty, bar his signature, without upsetting the balance. The fish on the bottom left-hand side reappears in Goldfish. Two later paintings by Klimt, Water Snakes I, and Water Snakes II also explore the sensual theme of women in water. More

Gustav Klimt
Mermaids, c. 1899
Detail

Gustav Klimt
Water Serpents I, c. 1904
Tempera / Watercolor on parchment
50 × 20 cm
Austrian Gallery, Vienna

Klimt returned to the theme of 'sensual women in water' in two works know as Water Serpents I and Water Serpents II. Water Serpents I is not an oil painting, and its pale, unusual colouring is in part dictated by the medium used. It does not differ much from the preliminary drawings that Klimt used for reference, apart from the addition of the gold paint, and the green and gold-leaf thread entangled around the women's bodies. 

Gustav Klimt
Water Serpents I, c. 1904
Detail

The unambiguously lesbian embrace of his models would perhaps have been unacceptable had it been presented as a straight portrait. However, by renaming the work and giving it an allegorical theme and by adding the fish-like serpent behind the bodies and adorning every surface with gold and pattern, Klimt was able to show the painting to Vienna without fear of censorship. 

Gustav Klimt
Water Serpents II, c. 1904
Oil on canvas
80 × 145 cm

Gustav Klimt
Water Serpents II, c. 1904
Detail

Gustav Klimt
Water Serpents II, c. 1904
Detail

The basic genres of Klimt's art remained unchanged up to the time of his death - portraits, landscapes, and allegories. In his last period, however, these familiar genres were treated with greater expression of feelings and the pictures became less abstract. Human types were no longer disguised in the context of myth or fairy tale. They appeared before the viewer in unvarnished reality. In a later painting, Women Friends, Klimt portrayed lesbianism much more openly. A naked young girl with parted lips rests her head against her lover, who holds a wrap, partly covering their nudity. More

Gustav Klimt 
Goldfish, c. 1901
Oil on Canvas
181 × 66.5 cm

Klimt was so infuriated and exasperated by the hostile reaction to his Faculty Paintings (Philosophy, Medicine,and Jurisprudence) that he painted this mocking riposte. Although he originally called it 'To my Detractors', on the advice of his friends Klimt changed the title to Goldfish when he exhibited the work in the 1903 Secession exhibition. Despite the change of title, the Press were up in arms, perhaps unsurprisingly given that the smiling woman is undeniably and provocatively turning her bottom towards the viewer. More

Gustav Klimt 
Goldfish, c. 1901
Detail

Gustav Klimt 
Goldfish, c. 1901
Detail


Gustav Klimt
Mermaids, c. 1899
Oil on Canvas
82 × 52 cm
Central Savings Bank of the City of Vienna

Like Flowing Water, Mermaids is another work dwelling on the sensuality of water and the female body. Mermaids looks forward to one of the Faculty Paintings, Jurisprudence, on which he began work the following year. The sheath-like nature of the female figures' hair and the surprisingly phallic outline of their bodies are strikingly similar. 

Gustav Klimt
Mermaids, c. 1899
Detail

Furthermore, even the colouring must have been broadly comparable. Since the Faculty Paintings were destroyed in a fire in 1945, we have only the notes of the contemporary art critic Ludwig Hevesi to tell us that 'black and gold predominate in Jurisprudence'. The rather menacing, predatory nature of these mermaids, with their strongly emphasized eyes, brows and mouths, suggests that they are to be viewed as sirens or femmes fatales. The male voyeur present in Flowing Water has - perhaps wisely - gone away."More"

Gustav Klimt
Mermaids, c. 1899
Detail



Images are copyright of their respective owners, assignees or others

Acknowledgement: Zeno