Millais, Mariana발음듣기
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Millais, Mariana
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Dr. Zucker: These are lines from a poem by Tennyson, the great Victorian poet, who had recently been made Poet Laureate in England just the year before John Everett Millais painted "Mariana" in 1851.발음듣기
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Dr. Harris: In turn, Tennyson's poem was based on Shakespeare's play, "Measure for Measure," and the story is of a woman abandoned by her fiancé for many years, and we see a very typical pre-Raphaelite subject of a woman alone.발음듣기
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Dr. Zucker: And the painting by Millais seems to me ages away from the original play, "Measure for Measure."발음듣기
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The story of Mariana is perhaps a serious one, but it's within a play that is a comedy, and yet this painting is completely divorced from that.발음듣기
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Dr. Zucker: And we can't imagine that in this rendering by Millais, so what we see is this woman in this absolutely glorious blue dress who is stretching her back and seems to be in the midst of a terrible melancholy.발음듣기
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Dr. Harris: She has gotten up from her embroidery, which we get a sense that she's been working on for a very long time, and there is an obvious sense of waiting.발음듣기
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I mean the poem is all about waiting and time passing and this idea of the passage of time, and a painting expressing a mood or a feeling are two strands that we see a lot in pre-Raphaelite painting.발음듣기
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Dr. Zucker: It's that heroism of emotion itself as an event that can be painted that is so particular to 19th century British art.발음듣기
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Dr. Harris: And an inner emotion, a solitary emotion because before, there would be narrative paintings with people enacting emotions toward each other.발음듣기
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And here, the narrative isn't about Mariana at the moment of her being abandoned by her fiancé but a moment of waiting.발음듣기
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Dr. Zucker: Millais is really brilliant in his ability to create for us a sense of what she thinks and what she sees.발음듣기
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We have that intensely rendered embroidery on the table, and then we have those leaves that have fallen that almost look as if they will also be embroidered into that pattern, but they heighten so greatly the sense of melancholy and the sense of loss.발음듣기
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Autumn leaves, the passing of the seasons, this idea that this is a space that she occupies year after year with a sense of patient or maybe even not so patient waiting.발음듣기
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Dr. Zucker: Those forms, those colors, the things that occupy her visual field are painted so painstakingly.발음듣기
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And behind her, we see an altar, a private devotional space, so we have the sense of her life being taken up between prayer and this meditative work of embroidery and this idea of waiting.발음듣기
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It's hard for me not to read this as a sense of entrapment of women generally in the Victorian era, in waiting, in sitting, in doing their needlework, in being devout in a limited life.발음듣기
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Dr. Zucker: Look at Millais' ability to render the textures of the forms that he's depicted, the velvet on that seat cushion and her dress.발음듣기
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It's that pre-Raphaelite intensity of color that's so different than the colors that a Victorian viewer would see in academic painting.발음듣기
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He really went out of his way to make sure that there was a kind of authenticity to what he is rendering.발음듣기
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Dr. Harris: The mouse on the lower right that we see was actually painted from a dead mouse apparently that Millais caught in his studio, and the mouse appears in Tennyson's poem.발음듣기
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Dr. Zucker: And even the stained glass window was painted directly from an actual stained glass window at Oxford University that the artist had climbed up some scaffolding to get a good close look at.발음듣기
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Dr. Harris: It feels to me as part of what the painting is about is a tension between nature and art.발음듣기
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There is a confluence of the wall paper on the wall behind her body and then the leaves outside.발음듣기
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Dr. Zucker: And as if her embroidery is artifice that is a representation of the thing that she is yearning to join.발음듣기
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Dr. Harris: Also as though the life of art, the life of her embroidery, and the life of devotion is not enough, and there is that yearning ...발음듣기
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