John William Waterhouse (1849–1917), “Miranda - The Tempest” (1916)

 Nikola Benin

John William Waterhouse (1849–1917), “Miranda - The Tempest” (1916), oil painting on canvas (100.4 x 137.8 cm.) - Private collection.

«If by your Art, my dearest father, you have

put the wild waters in this roar, allay them.

The sky, it seems, would pour down stinking pitch,

But that the sea, mounting to the welkin's cheek,

Dashes the fire out.»

[William Shakespeare, “The Tempest” Miranda, Act I. Scene II. ]

John William Waterhouse painted “Miranda - The Tempest” in 1916, at the very end of his illustrious career.

The famous Pre-Raphaelite artist allegedly produced several versions of Miranda, a fictional character in Shakespeare's play, both in sketches and completed oil paintings. This work was completed and exhibited at the Royal Academy in the same year of its creation.

The key difference between this and earlier versions of Miranda is that in this painting the storm is ongoing and produces a frightening scene right in the background.

Miranda watches a ship cut in two by the powerful waves that push it against the rocks. Although her dress sways in the wind, the protagonist still manages to look elegant and calm.

The previous version of 1875 was much more subtle and conservative, perhaps in consideration of the fact that at the end of his career Waterhouse was very confident in his style and more willing to be more innovative.

Waterhouse, being an artist, often revisited previous inspirations, adding a new twist to the composition or style, while retaining much of his original creation.

The Tempest is a play in five acts written by William Shakespeare between 1610 and 1611. It is traditionally believed to be William Shakespeare's penultimate play, the last entirely his own, and is considered by many to be the work that marked farewell to the scenes of the famous playwright.

The drama, set on an unspecified island in the Mediterranean, tells the story of the exiled Prospero, the true Duke of Milan, who plots to bring his daughter Miranda back to her rightful place, using illusions and magical manipulations. While his brother Antonio and his accomplice, the King of Naples Alonso, are sailing on the sea returning from Carthage, the magician invokes a storm that overturns the unharmed passengers on the island. Through magic and with the help of his servant Ariel, a spirit of the air, Prospero manages to reveal Antonio's low nature, redeem the King and make his daughter fall in love and marry the Prince of Naples, Ferdinand.

The narration is all centered on the figure of Prospero, who, with his art of him, weaves plots with which he forces the other characters to move according to their will.