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Ulysses and the Sirens (Waterhouse)

In this article, the topic of Ulysses and the Sirens (Waterhouse) will be addressed from a multidisciplinary perspective, analyzing its implications in different areas. Ulysses and the Sirens (Waterhouse) is a topic of great relevance today and has aroused widespread interest in the academic community and the general public. Throughout the text, different aspects related to Ulysses and the Sirens (Waterhouse) will be examined, such as its history, its effects on society, its impact on the economy, among others. In this way, it is intended to offer a comprehensive and complete vision of Ulysses and the Sirens (Waterhouse), delving into its various dimensions and its possible implications for the present and the future.

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Not to be confused with The Sirens and Ulysses or Ulysses and the Sirens (Draper).

Ulysses and the Sirens
ArtistJohn William Waterhouse
Year1891
Mediumoil on canvas
Dimensions100.6 cm × 202.0 cm (39.6 in × 79.5 in)
LocationNational Gallery of Victoria, Melbourne, Australia

Ulysses and the Sirens is an 1891 painting by the Pre-Raphaelite artist John William Waterhouse. It is currently held in the National Gallery of Victoria, Melbourne, Australia.[1]

Description

A 5th-century BC Greek vase in the British Museum with illustrations of Sirens similar to those in Ulysses and the Sirens

The work depicts a scene from the ancient Greek epic the Odyssey, in which the Sirens attempt to use their enchanting song to lure the titular hero Odysseus and his crew towards deadly waters. As per the Odyssey, Odysseus' crew had already blocked their ears to protect themselves from the Sirens' singing, but Odysseus, wanting to hear the Sirens, had ordered his crew to tie him to the mast so that he may have the pleasure of listening without risking himself or his ship.[2]

The most controversial aspect of Waterhouse's painting was his depiction of the Sirens, as it differed greatly from contemporary Victorian era conceptions. While many of the original audience had expected to see the Sirens as mermaid-like nymphs, they were surprised to find them as bird-like creatures with women's heads.[1] However, at the time of initial exhibition, The Magazine of Art critic Marion H. Spielmann noted that the idea of half-bird, half-woman Sirens is supported by depictions of Sirens similar to Waterhouse's on classical Greek vases.[3]

Exhibition

The painting was first exhibited in 1891 at the Royal Academy, London to critical acclaim for the imaginative and romantic representation of its subject.[3] In June of that year, Sir Hubert von Herkomer purchased work for the National Gallery of Victoria, and it has since remained in the museum's collection.[1]

See also

References

  1. ^ a b c "Ulysses and the Sirens". NGV. Retrieved 30 August 2020.
  2. ^ Homer. "The Odyssey, Book XII". Translated by Samuel Butler. The Internet Classics Archive. Retrieved 30 August 2020.
  3. ^ a b Bonollo, Michelle (4 June 2014). "J. W. Waterhouse's Ulysses and the Sirens: breaking tradition and revealing fears". NGV. Retrieved 30 August 2020.
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