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While this painting is an homage to Ovid, Waterhouse spins the classical in imaginative and poetic ways. Anthony Hobson describes the painting as being "invested with an aura of menace, which has much to do with the powerful colour scheme of deep greens and blues employed so well." Those colors are
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Waterhouse's version similarly shows Circe floating over the water in the cove, pouring bright green poison into the pool below. Under her feet, Scylla's "barking shapes" already swirl in the bubbling depths below; the transformation is well underway. Neither Scylla's human form nor her monster form
203:"near stained glass or jewels," according to Gleeson White. Judith Yarnall also echoes the sentiment about the colors and mentions an "integrity of line" in the painting. She says that taken as a pair, Waterhouse's first two Circes prompt the question: "is she goddess or woman?"
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archetype, which pervaded an immense amount of late nineteenth-century art. However, Chris Woods argues that
Waterhouse's portrayals of Circe are not wholly evil, destructive, or monstrous, much like one sees in paintings of female mythological figures by
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scorned the enchantress' romantic advances in hopes of attaining Scylla's love instead. Waterhouse later returned to the subject of Circe a third time with
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is the emphasis here. Rather, the power of Circe's grave face and tangible jealousy rules this scene, as the vivid colors swirl all around her figure.
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222:. In this painting, Circe becomes a tragic figure: she "cannot help what doing, and rather regret it."
155:. The specific scene that Waterhouse bases this painting on occurs in lines 52–65 of the epic poem:
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179 cm × 85 cm (70 in × 33 in)
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The myth of Circe, Glaucus, and Scylla originates in Book XIV of
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Transformations of Circe: The
History of an Enchantress
105:. This particular mythological portrayal is based on
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completed in 1892. It is his second depiction, after
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and, in midcourse, the sun scorched with full force,
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I Am Half-Sick of
Shadows, Said the Lady of Shalott
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272:. Houghton Mifflin Harcourt. Lines 52-65, page 475
207:exemplifies Waterhouse's experimentation with the
664:Collection of the Art Gallery of South Australia
397:The Unwelcome Companion: A Street Scene in Cairo
101:(1891), of the classical mythological character
285:. Oxford: Phaidon Christie's. pages 48-49, 52.
178:and, three-times-nine times, murmurs an obscure
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166:sought shelter when the sea and sky were hot;
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237:List of paintings by John William Waterhouse
188:around her hips, the horrid barking shapes.
184:Then Scylla comes; no sooner has she plunged
176:she scatters venom drawn from dreadful roots
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256:Art Gallery of South Australia: Collection
182:the magic chant that issues from her lips.
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322:. University of Illinois Press. page 166
186:waist-deep into the water than she sees,
174:polluting it with noxious poisons; there
477:The Lady of Shalott Looking at Lancelot
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180:and tangled maze of words, a labyrinth—
413:The Favourites of the Emperor Honorius
164:a quiet place where Scylla, at midday,
162:a little inlet shaped like a bent bow,
140:The Favourites of the Emperor Honorius
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654:Paintings by John William Waterhouse
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172:And Circe now contaminates this bay,
170:reducing shadows to a narrow thread.
137:, which also owns Waterhouse's 1883
119:into a sea monster, solely because
16:Painting by John William Waterhouse
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453:Circe Offering the Cup to Ulysses
307:. International Studio. page 318.
133:is part of the collection of the
98:Circe Offering the Cup to Ulysses
679:Paintings based on Metamorphoses
630:Commons: John William Waterhouse
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405:Sleep and His Half-Brother Death
565:Gather Ye Rosebuds While Ye May
557:Gather Ye Rosebuds While Ye May
304:The Master Painters of Britain
135:Art Gallery of South Australia
78:Art Gallery of South Australia
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335:. The Viking Press. page 144.
659:Paintings of Greek goddesses
608:Esther Kenworthy Waterhouse
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614:Pre-Raphaelite Brotherhood
331:Woods, Christopher. 1981.
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269:The Metamorphoses of Ovid
266:Mandelbaum, Allen. 1995.
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373:John William Waterhouse
316:Yarnall, Judith. 1994.
281:Hobson, Anthony. 1989.
93:John William Waterhouse
42:John William Waterhouse
461:Ulysses and the Sirens
301:White, Gleeson. 1909.
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115:, wherein Circe turns
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509:Mariana in the South
493:Hylas and the Nymphs
445:The Lady of Shalott
333:The Pre-Raphaelites
220:European Symbolists
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382:List of paintings
232:Circe in the arts
160:There was a cove,
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147:Description
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243:References
80:, Adelaide
66:Dimensions
520:(c. 1900)
517:The Siren
389:Paintings
218:or other
226:See also
198:Analysis
129:(1911).
109:tale in
74:Location
601:Related
501:Pandora
485:Ophelia
121:Glaucus
610:(wife)
584:(1915)
576:(1915)
568:(1909)
560:(1908)
552:(1907)
544:(1903)
536:(1903)
533:Boreas
528:(1902)
512:(1897)
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416:(1883)
408:(1874)
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117:Scylla
107:Ovid's
56:Medium
38:Artist
684:Circe
103:Circe
287:ISBN
51:1892
48:Year
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365:e
358:t
351:v
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