The Artist's Models
Waterhouse's models would appear again and again, always dressed beautifully and often depicted within scenes of mythology or classical literature. The artist took some inspiration from British poets from the last century as well as the far older Greek and Roman times.
He possessed a stunning ability of capturing the beauty of women and also their delicate clothing, which has helped to build up a strong following globally since his passing. Whilst being very much on the outskirts of the Pre-Raphaelite movement, his name is perhaps the most famous amongst all of those connected to this group.
Within this theme, the clothing also offers a symbolic value too, indicating of how Lamia might not be quite what she seems. This subtle touch will be missed by those unfamiliar with the story behind the painting, but it is discussed in further detail below. Waterhouse regularly disguised meaning within his paintings and regularly used literature, both classical and modern British, as inspiration for his content.
Description
In this scene Lamia looks at her reflection in a pond whilst wearing a small pink dress which appears delicate and soft. She has a small blue piece of embroidered cloth (some have suggested this to be snakeskin, but that is not confirmed) which she holds dearly around her midrift.
With the work of Waterhouse, there is normally meaning to these compositional additions, but what might they be here? Many of this artist's paintings feature innocent, slim women wandering around by themselves within healthy looking forests. He may have studied French art in depth and also been brought up, in his very early years, in Italy, but his style was ultimately very British.
Lamia offers temptation but danger, so according to the literary inspiration behind this piece. In another version we find Lamia luring in a knight, who is attracted by the beauty and innocence that she portrays. Waterhouse repeated this hidden meaning in a number of his pieces, normally with attractive models used to signify the mesmerising effect given off by aesthetic beauty.
Part of a Series
This painting based on Lamia is the second version on this topic, with the earlier Lamia coming in 1905 - that painting places her alongside a young man equipped with full armoury. We find small snakeskin in both scenes and further research have found these inclusions to be highly significant.
Inspiration
Lamia is also the name of a character within a John Keats poem from 1820 where she lures young men with the image of a young beauty before transforming into a lethal half-serpent and preying on these mistaken gentlemen. The snakeskin provides our only subtle clue as to what is about to happen and only those aware of the literature involved in this painting would have picked up on that.
Large Image of Lamia II
The larger image below features more of the detail from the original 1909 version. You will be able to spot some of the drapery and decorative elements added to Lamia's dress, as well as the water lilies which adorn the small pond which sits in front of her. There is also a delightful pattern upon the cloth which lies over her lap.
Lamia II
