G’day reader! Back for more opinions, eh? Glad to hear it—because I sure have them! My stacks of old magazines are endless mates and I keep finding old articles to tell you about! This time I found an article reviewing the work of John William Waterhouse. Waterhouse is one of my favorite artists. I am sad to say, this review of his work really didn’t capture a very positive feeling towards his work though. There was one point in the argument that really tangled my seaweed, while I agreed with another whole heartedly! Let me tell you a bit about those points. Then I can share my reasoning behind why I think Waterhouse earned a bad rap from the article.
First, it is important to note that Dorment did not tear Waterhouse’s work to shreds—he just scratched at it. Everyone is entitled to an opinion—after all, that is why I have a blog, right? Right. So, with that preamble out of the way, let’s dive in a bit here. Dorment’s thesis states: “Without for a moment denying that his work is both accomplished and appealing, the visitor emerges from the exhibition with a feeling that most of his pictures teeter on the edge of the sweetly derivative” (p. 868). Dorment gave reason for his differing opinions of Waterhouse by addressing two variations of Waterhouse’s work, heroines and storytelling art.
In the way of heroines, Dorment commended Waterhouse’s Isabella and the Pot of Basil, but said it lacks. “Waterhouse’s combination of perfect technique applied to certifiably interesting subjects seems rarely to have resulted in paintings that breathe, live, and fascinate” (869). To prove his opinion, Dorment compared Waterhouse’s work to other artists addressing emotion, but did not comment further on other elements comprising the paintings. “… heroines… of an earlier generation of Victorian artists, reappear here as teenage models dressed and posed like their mature predecessors, perfectly drawn and beautifully painted, but bleached of frustration, lust, and despair that made Hunt or Millais want to paint them in the first place” (869).
For his second round of criticism, Dorment elaborates on Waterhouse’s storytelling art. In a somewhat condescending compliment, Dorment wrote, “I found the picture haunting and even, rare for Waterhouse, moving…” in reference to Nymphs Finding the Head of Orpheus (869). Without truly analyzing either piece, Dorment again compared Waterhouse to other painters who painted the same scenario. Despite his compliment, Dorment did reflect on Waterhouse’s achievement in storytelling not achieved by other artists. “[I] also found in it no question of a seriousness deeper than the simple narrative details reveal, such as we instinctively feel in Gustave Moreau's or Odilon Redon's Symbolist versions of the same subject” (869).
I believe that Waterhouse’s work is merely a contrasting and equally artistic interpretation of the stories he chose to tell in his work. As a rebuttal, and unlike Dorment’s analysis, I will compare Waterhouse to the artists referenced by Dorment to support my opinion.
In the first case of heroines, let’s compare Waterhouse and Hunt’s work, both titled Isabella and the Pot of Basil. In Hunt’s piece, the artist’s talent is undeniable.
Hunt’s use of warm colors creates an inviting tone to the piece. The background differentiates from the foreground, creating a soft but recognizable dimension. The use of light appears high key in the bottom left of the painting and fading to a lower key lighting as the eye wander to the upper right corner. This creates in the viewer’s mind a source of light without being obtrusive. The subject is set to the right of the canvas with her eye line down and right. I agree with Dorment that this painting fascinates, but I do not feel that it breathes or lives. In fact, I do not perceive continued or unfolding action.
In Waterhouse’s version of the same painting, the colors are cool, and in fact a bit cold to the point that tone reflects disparity. Dimension is focused in the foreground of the painting, and Waterhouse allows for a softer line of dimension in the background. With this approach, the viewer focuses on the figure rather than background because the foreground is what is more intriguing. The source of light appears to be coming from behind the viewer in a sense as it washes over the subject and foreground and dissipates in the background. The subject is set to the left of the frame with an eye line drifting up and in front of the subject, though she does not open her eyes. After considering the different elements of these two paintings, it is clear that both artists have a different image of the same Isabella. I personally find Waterhouse’s interpretation more intriguing. I feel that his Isabella reflects a different emotion, but that emotion is just as clear and intriguing as the emotion conveyed in Hunt’s depiction. Therefore, I disagree with Dorment’s critique that Waterhouse’s heroine, in comparison to Hunt’s, lacks emotion.
Onto the story-telling art. In particular, I will focus on Odilon Redon’s Orpheus and Waterhouse’s Nymphs Finding the Head of Orpheus. Dorment stated that Waterhouse delves further into the seriousness of the story he told in his work while other artists, as Redon, tend to float on the surface of the narrative. First, let’s look at Redon’s work.
In this piece, Redon used warm colors with an apparent soft tactile element. Looking at the painting, one may be inclined to believe it feels like velvet because there is not an implied second dimension to the piece. There is low key lighting, reflecting a somber mood. The placement of the subject is in the left of the frame, and the nymph hold an instrument off some type, upon which the head is mounted. The head itself looks peaceful and slightly feminine.
Dorment, Richard. “The J.W. Waterhouse Exhibition: Sheffield and Wolverhampton.” The Burlington Magazine 120.909 (December 1978): p. 866, 869, 871. JSTOR. Wilson Library, Chapel Hill. 2 April, 2007
First, it is important to note that Dorment did not tear Waterhouse’s work to shreds—he just scratched at it. Everyone is entitled to an opinion—after all, that is why I have a blog, right? Right. So, with that preamble out of the way, let’s dive in a bit here. Dorment’s thesis states: “Without for a moment denying that his work is both accomplished and appealing, the visitor emerges from the exhibition with a feeling that most of his pictures teeter on the edge of the sweetly derivative” (p. 868). Dorment gave reason for his differing opinions of Waterhouse by addressing two variations of Waterhouse’s work, heroines and storytelling art.
In the way of heroines, Dorment commended Waterhouse’s Isabella and the Pot of Basil, but said it lacks. “Waterhouse’s combination of perfect technique applied to certifiably interesting subjects seems rarely to have resulted in paintings that breathe, live, and fascinate” (869). To prove his opinion, Dorment compared Waterhouse’s work to other artists addressing emotion, but did not comment further on other elements comprising the paintings. “… heroines… of an earlier generation of Victorian artists, reappear here as teenage models dressed and posed like their mature predecessors, perfectly drawn and beautifully painted, but bleached of frustration, lust, and despair that made Hunt or Millais want to paint them in the first place” (869).
For his second round of criticism, Dorment elaborates on Waterhouse’s storytelling art. In a somewhat condescending compliment, Dorment wrote, “I found the picture haunting and even, rare for Waterhouse, moving…” in reference to Nymphs Finding the Head of Orpheus (869). Without truly analyzing either piece, Dorment again compared Waterhouse to other painters who painted the same scenario. Despite his compliment, Dorment did reflect on Waterhouse’s achievement in storytelling not achieved by other artists. “[I] also found in it no question of a seriousness deeper than the simple narrative details reveal, such as we instinctively feel in Gustave Moreau's or Odilon Redon's Symbolist versions of the same subject” (869).
I believe that Waterhouse’s work is merely a contrasting and equally artistic interpretation of the stories he chose to tell in his work. As a rebuttal, and unlike Dorment’s analysis, I will compare Waterhouse to the artists referenced by Dorment to support my opinion.
In the first case of heroines, let’s compare Waterhouse and Hunt’s work, both titled Isabella and the Pot of Basil. In Hunt’s piece, the artist’s talent is undeniable.
Hunt’s use of warm colors creates an inviting tone to the piece. The background differentiates from the foreground, creating a soft but recognizable dimension. The use of light appears high key in the bottom left of the painting and fading to a lower key lighting as the eye wander to the upper right corner. This creates in the viewer’s mind a source of light without being obtrusive. The subject is set to the right of the canvas with her eye line down and right. I agree with Dorment that this painting fascinates, but I do not feel that it breathes or lives. In fact, I do not perceive continued or unfolding action. In Waterhouse’s version of the same painting, the colors are cool, and in fact a bit cold to the point that tone reflects disparity. Dimension is focused in the foreground of the painting, and Waterhouse allows for a softer line of dimension in the background. With this approach, the viewer focuses on the figure rather than background because the foreground is what is more intriguing. The source of light appears to be coming from behind the viewer in a sense as it washes over the subject and foreground and dissipates in the background. The subject is set to the left of the frame with an eye line drifting up and in front of the subject, though she does not open her eyes. After considering the different elements of these two paintings, it is clear that both artists have a different image of the same Isabella. I personally find Waterhouse’s interpretation more intriguing. I feel that his Isabella reflects a different emotion, but that emotion is just as clear and intriguing as the emotion conveyed in Hunt’s depiction. Therefore, I disagree with Dorment’s critique that Waterhouse’s heroine, in comparison to Hunt’s, lacks emotion.
Onto the story-telling art. In particular, I will focus on Odilon Redon’s Orpheus and Waterhouse’s Nymphs Finding the Head of Orpheus. Dorment stated that Waterhouse delves further into the seriousness of the story he told in his work while other artists, as Redon, tend to float on the surface of the narrative. First, let’s look at Redon’s work.
In this piece, Redon used warm colors with an apparent soft tactile element. Looking at the painting, one may be inclined to believe it feels like velvet because there is not an implied second dimension to the piece. There is low key lighting, reflecting a somber mood. The placement of the subject is in the left of the frame, and the nymph hold an instrument off some type, upon which the head is mounted. The head itself looks peaceful and slightly feminine.In Waterhouse’s depiction of the same tale (Nymphs Finding the Head of Orpheus), there differences are obvious. Waterhouse used cool colors and again evokes a cold tone in this piece. This tone forces the audience to consider the piece as not a reflective snapshot but a more in depth survey of the story, encompassing the shock, horror, and dismay the nymphs felt as they watch the head of Orpheus float. The lighting is remarkable. I would characterize the lighting as high key, attributing the darkness of the painting to the color scheme rather than lighting. If you look closely, you may see that the skin on the right nymph’s back is bright and nearly glowing from a light seemingly positioned above the scene. The nymphs are placed to the right and center of the frame and the head floats slightly left of the center, indicative of it drifting away. The head itself looks more masculine than in Redon’s piece. The armor floating around the head also presents the warrior legend of the deceased.
In the element of storytelling as referenced by Dorment, I agree that Redon’s piece captures a moment rather than the story as does Waterhouse. I also agree with Dorment on the point that Waterhouse’s painting is haunting and moving indeed.
In conclusion, I hope that you, my mates, will take a look at some of the art displayed here and that is whets your appetite for further exploration. In the mean time, I am off to buy a Waterhouse print for the bar to add a touch of class.
In the element of storytelling as referenced by Dorment, I agree that Redon’s piece captures a moment rather than the story as does Waterhouse. I also agree with Dorment on the point that Waterhouse’s painting is haunting and moving indeed.
In conclusion, I hope that you, my mates, will take a look at some of the art displayed here and that is whets your appetite for further exploration. In the mean time, I am off to buy a Waterhouse print for the bar to add a touch of class.
Dorment, Richard. “The J.W. Waterhouse Exhibition: Sheffield and Wolverhampton.” The Burlington Magazine 120.909 (December 1978): p. 866, 869, 871. JSTOR. Wilson Library, Chapel Hill. 2 April, 2007
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