Ophelia (1889): John William Waterhouse
The late 19th century produced some of the most hauntingly beautiful works of art inspired by literature, myth, and tragic romance. Among them is Ophelia (1889) by John William Waterhouse, a painting that captures one of the most heartbreaking moments in Shakespeare’s Hamlet. Waterhouse’s Ophelia stands as a deeply emotional and symbolic painting, balancing Pre-Raphaelite ideals with his own unique interpretation.
In this article, we will explore the story of Ophelia, the woman depicted in the painting, the meaning and symbolism behind Waterhouse’s 1889 version, the technique and style of the painting, its cultural reception, and its current location.
We’ll also examine the controversies, artistic comparisons, and why Waterhouse’s Ophelia remains one of the most discussed artworks in the history of Shakespeare-inspired paintings.
Who is Ophelia in Shakespeare’s Hamlet?
To understand the painting, one must first revisit the tragic character of Ophelia in William Shakespeare’s play Hamlet (1600–1601).
Ophelia is the daughter of Polonius, sister of Laertes, and the young noblewoman romantically entangled with Prince Hamlet.
She is often portrayed as innocent, obedient, and fragile, caught between loyalty to her father and her love for Hamlet.
When Hamlet kills Polonius, Ophelia descends into madness, singing fragmented songs and distributing symbolic flowers before meeting her tragic fate.
In Act IV, Scene VII, Queen Gertrude delivers the devastating news of Ophelia’s death:
“There is a willow grows aslant a brook,
That shows his hoar leaves in the glassy stream;
There with fantastic garlands did she come
Of crow-flowers, nettles, daisies, and long purples…”
Ophelia’s death, falling into a river and drowning, possibly by accident, possibly by choice, is one of the most haunting moments in literature. Artists across centuries have been fascinated by this scene, and Waterhouse’s Ophelia (1889) is one of the most iconic visual interpretations.
The Story of Waterhouse’s Ophelia (1889)
John William Waterhouse (1849–1917), an English painter often associated with the Pre-Raphaelite Brotherhood, painted three different depictions of Ophelia across his career (1889, 1894, and 1910). The 1889 version is the first and perhaps the most striking.
The painting shows Ophelia lying in a meadow, moments before her death.
Instead of showing her already drowning in the river (like Millais’ famous 1851 Ophelia), Waterhouse depicts her in a state of quiet surrender, lying in the grass surrounded by wildflowers.
Her gaze is dreamy and distant, her body languid, as though caught between life and death.
This interpretation makes Waterhouse’s version distinct: it captures the moment just before the tragedy, blending beauty with impending doom.
Description of the Painting
At first glance, Ophelia (1889) appears serene, almost pastoral. But on closer inspection, it reveals layers of symbolism and melancholy.
The Setting
The background is a lush, shadowy forest.
The meadow is filled with wildflowers, poppies, daisies, and Queen Anne’s lace, all carrying symbolic weight.
Nature seems to both embrace and engulf Ophelia.
Ophelia’s Pose
She lies reclining, her white dress flowing around her.
Her hand still clutches yellow flowers, while others are scattered nearby.
Her expression is distant, as if resigned to her fate.
Color Palette
Waterhouse uses earthy greens and browns for the forest.
The white dress glows almost unnaturally, symbolizing Ophelia’s purity and innocence.
The flowers add splashes of color, reminding us of her symbolic “garland” from Shakespeare’s text.
Mood
The painting balances beauty and sorrow.
It is not violent or dramatic, but instead peaceful, tender, and tragic.
Symbolism and Meaning of Ophelia (1889)
Waterhouse’s Ophelia is rich with symbolism:
Flowers – Shakespeare’s Ophelia famously distributes symbolic flowers in Act IV, Scene V. In the painting, daisies symbolize innocence, poppies suggest death and sleep, and other wildflowers represent fleeting youth and fragility.
White Dress – The luminous white dress highlights purity but also suggests Ophelia’s ghostly presence, foreshadowing her death.
Nature – The meadow represents both fertility and decay. It seems alive, yet also suffocating, echoing Ophelia’s lack of escape from her tragic destiny.
Ophelia’s Expression – Her face conveys detachment, as though her mind is elsewhere, a reflection of her madness and surrender to fate.
Ultimately, the painting symbolizes the fragility of innocence, the destructiveness of patriarchal pressures, and the tragic consequences of unbalanced love and power in Hamlet’s world.
How Was Ophelia (1889) Painted?
John William Waterhouse combined Pre-Raphaelite inspiration with his own late-Victorian style.
Medium: Oil on canvas.
Technique: Waterhouse was known for his fine brushwork and layering techniques, giving his figures softness and realism. He used delicate strokes to render Ophelia’s face and dress, while employing looser, impressionistic strokes for the meadow and background.
Influence: Waterhouse was deeply influenced by John Everett Millais’ 1851 Ophelia, one of the most famous Pre-Raphaelite works. However, unlike Millais, who showed Ophelia floating in the river, Waterhouse chose to show the moments just before her death.
This artistic choice reflects Waterhouse’s sensitivity to narrative and psychology, he wanted to capture transition and anticipation, rather than aftermath.
What is Happening in Ophelia (1889)?
The scene portrays Ophelia just before her fateful drowning. Instead of dramatizing her final struggle in the river, Waterhouse imagines her resting in a meadow, lost in thought or madness.
Interpretations vary:
Some see her as exhausted and waiting, already resigned to death.
Others interpret her expression as dreamlike, suggesting she is disconnected from reality.
The wildflowers indicate her symbolic association with both life and decay.
This liminal moment, the boundary between life and death, makes the painting deeply moving and mysterious.
What Type of Art is Ophelia (1889)?
Waterhouse’s Ophelia belongs to the Pre-Raphaelite tradition, though technically he painted decades after the original Brotherhood disbanded.
Pre-Raphaelite Influence: Focus on nature, literary subjects, symbolism, and romantic idealization.
Romanticism: The emphasis on emotion, tragedy, and beauty places it within the Romantic spirit.
Victorian Art: The fascination with Shakespeare, morality, and feminine fragility reflects late 19th-century tastes.
Thus, Ophelia (1889) is best described as a Pre-Raphaelite-inspired Romantic painting.
Controversies Surrounding Ophelia (1889)
While Ophelia (1889) itself was not scandalous, there are broader controversies tied to depictions of Ophelia in art:
The “Beautiful Dead Woman” Trope
Many critics argue that paintings of Ophelia romanticize female death, turning tragedy into aesthetic pleasure.
Feminist scholars see this as a reflection of Victorian fascination with women as passive, fragile victims.
Comparison with Millais’ Ophelia (1851)
Some art historians debate whether Waterhouse’s Ophelia is derivative or a bold reinterpretation.
Millais’ version is more famous, but Waterhouse’s has its own psychological depth.
Victorian Gender Ideals
Ophelia was often used to reinforce ideals of female submissiveness, fragility, and madness.
Critics argue this perpetuates problematic views of women.
Despite these debates, Waterhouse’s Ophelia (1889) remains admired for its beauty and narrative power.
Public Opinion and Reception of Ophelia (1889)
Since its unveiling in 1889, Waterhouse’s Ophelia has been well-regarded.
Victorian Audiences: They admired it as a deeply moving and moralizing artwork, reflecting Shakespeare’s genius and feminine tragedy.
Modern Audiences: Today, viewers appreciate its technical brilliance and haunting atmosphere. At the same time, many critics analyze it through feminist and psychological lenses.
Art Lovers: It remains one of Waterhouse’s most reproduced and beloved works, alongside The Lady of Shalott.
Overall, public opinion continues to be largely positive, with recognition of both its beauty and its cultural implications.
Where is Ophelia (1889) Today?
Waterhouse’s Ophelia (1889) is currently housed in the Private Collection of the Tate Britain, London.
Unlike Millais’ version, which is part of the Tate’s permanent public collection, Waterhouse’s painting is less frequently on display. It often appears in exhibitions focused on Pre-Raphaelite or Victorian art, allowing modern audiences to revisit its haunting beauty.
Why Waterhouse’s Ophelia (1889) Still Matters
Waterhouse’s Ophelia continues to resonate because it touches on timeless themes:
The fragility of innocence
The conflict between love and duty
The human fascination with beauty and death
Moreover, the painting represents a bridge between Romanticism and Victorian symbolism, keeping Shakespeare’s influence alive in visual art.
John William Waterhouse’s Ophelia (1889) is more than a painting, it is a visual poem of beauty, tragedy, and symbolism. By depicting Ophelia in the meadow before her drowning, Waterhouse gives us a deeply psychological portrait of resignation and fragility.
Through its symbolic flowers, luminous palette, and haunting atmosphere, the painting continues to inspire admiration and debate. Whether viewed as a romantic masterpiece or as a problematic symbol of Victorian ideals, Ophelia (1889) remains one of the most important Shakespeare-inspired artworks of the 19th century.
