
Not on display
- Artist
- John William Waterhouse 1849–1917
- Medium
- Oil paint on canvas
- Dimensions
- Support: 1829 × 1270 mm
frame: 2245 × 1685 × 175 mm - Collection
- Tate
- Acquisition
- Presented by the Trustees of the Chantrey Bequest 1886
- Reference
- N01572
Summary
Miracles, magic and the power of prophecy are common themes in Waterhouse's art. More specifically, the notion of woman as enchantress is one that recurs in images such as Circe Offering the Cup to Ulysees (1891, Oldham Art Gallery) and Hylas and the Nymphs (1896, Manchester City Art Gallery). His oeuvre also includes a number of middle-eastern subjects, in which he drew on the work of contemporary artists such as J.F Lewis (1805-76) and Lawrence Alma-Tadema (1836-1912), rather than on actual experience. This is one of Waterhouse's earlier works, and reflects his fascination with the exotic.
The woman in this picture appears to be a witch or priestess, endowed with magic powers, possibly the power of prophecy. Her dress and general appearance is highly eclectic, and is derived from several sources – her hairstyle is like that of an early Anglo-Saxon; and her dress is decorated with Persian or Greek warriors. In her left hand she holds a crescent-shaped sickle, linking her with the moon and Hecate. With the wand in her right hand she draws a protective magic circle round her. Outside the circle the landscape is bare and barren; a group of rooks or ravens and a frog - all symbols of evil and associated with witchcraft - are excluded. But within its confines are flowers and the woman herself, objects of beauty.
The meaning of the picture is unclear, but its mystery and exoticism struck a chord with contemporary observers. When the picture was exhibited at the Royal Academy in 1886 the critic for the Magazine of Art wrote 'Mr Waterhouse, in The Magic Circle, is still at his best - original in conception and pictorial in his results' (quoted in Hobson, p.37).
Further reading:
Anthony Hobson, J.W. Waterhouse, Oxford 1989, pp.37-8, reproduced p.36.
Christopher Wood, Victorian Painting, London 1999, pp.236-242.
Frances Fowle
December 2000
Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.
Explore
- emotions, concepts and ideas(16,402)
-
- universal concepts(6,389)
-
- beauty(1,484)
- agriculture, gardening & fishing(951)
-
- sickle(13)
- fire, open(45)
- cauldron(25)
- magic wand(6)
- actions: postures and motions(9,102)
-
- standing(3,106)
- woman(9,107)
- magic and occultism(206)
-
- magic circle(3)
- spell(19)
- witch(33)
- dress: fantasy/fancy(492)
-
- exotic(22)
You might like
-
John William Waterhouse Consulting the Oracle
1884 -
John William Waterhouse Saint Eulalia
exhibited 1885 -
John William Waterhouse The Lady of Shalott
1888 -
Sir Frank Dicksee Harmony
1877 -
George Frederic Watts Time, Death and Judgement
1900 -
Sir Edward Coley Burne-Jones, Bt King Cophetua and the Beggar Maid
1884 -
William Holman Hunt The Ship
1875 -
William Holman Hunt The Triumph of the Innocents
1883–4 -
Antonio Mancini Portrait of the Artist’s Father
c.1903–4 -
Sir Edward Coley Burne-Jones, Bt Ezekiel and the Boiling Pot
date not known -
Sir Edward Coley Burne-Jones, Bt Vespertina Quies
1893 -
Antonio Mancini Self-Portrait
c.1906 -
Giacomo Balla Abstract Speed - The Car has Passed
1913 -
John William Waterhouse Study for ‘Consulting the Oracle’ Verso: Studies of (i) Same Composition (ii) Priestess on a Tripod Throne
c.1884 -
John William Waterhouse Study for ‘Saint Eulalia’
c.1885