John William Waterhouse. (1849 - 1917). Boreas. (1903).
In Greek mythology, Boree (in Greek old Boreas) is the wind of North. He is the son of Eos (Dawn), and of Atréos one of the Titans. His brothers are Zephyr and Notos, his sister is Eosphoros, the star of the morning. Have all the primary forces of natural it is itself Titan. In face of the walls of Troy,at the request of Achilles it comes with Zephyr to light and poke the flames of roughing-hew funerary of Patrocle. Boreas is venerated in Athens because it destroys the fleet perse of Xerxes when it attacks the city. The Athenians thus build has temple to him and institute annual festivals. It is also known to Be in love of Orithye, the girl of Arechthee, the king of Athens and to cuts removed it one has cloud. Among his many children Harpies and Chioné, snow appear. Of has union with has pond, Boree is also the father of twelve foalta, yew nimble that they run one corn ears without curving them and one the summit of the waves without wrinkling them, justifying the frequent representation of the god have has horse. Watherhouse it’s a Pre-raphaelite painter likes to represent beautiful sensual, elegant and romantic young women, therefore it exchanges the sex of Boreas which becomes beautiful brown young woman pretence to float in the wind. The painting translates the movement of the breath of the wind, the posture of the model and the position of the arms induces a rotational movement the more so as the model is tilted. The dominant colors are cold, like the wind of the north, of a blue close to the indigo. During 90 years the picture disappears then suddenly it is put on sale in the years 1990 and is allocated for 1 293 962 $. This sale creates sensation because it acts, for the time, of a record for a work of John William Waterhouse. Since, the Alarm clock of Adonis (1899) was sold 2 340 000 $.
The model is with the foreground. The horizon east to far and rather high. The point of view of the witness is below the face but the glance is irresistibly attracted by the grace and the expression of the women.
The body of the young woman is positioned on the ascending diagonal exactly on the 4 natural points of interests. Its face is on the 2 points of higher interests. The composition is perfect and shows the great control of the artist.
The painting is a landscape, the framework, on which the artist deposited a portrait. The young woman.
The portrait is detached on large the ascending diagonal. For contours of the model and clothes, circular or oval lines, symbols of femininity, are used. The position of the arm folded up above the head, which is not natural, reinforces this circular dynamics.
The expression of the face is not sad, it is melancholic. The young woman seems thoughtful and absent. The feeling of rolling up and self-protection is reinforced by the position of this hand above the head.
The sky seems moving, the trees are curved, the veil floats in the wind, the flowers and bleaches on grass it, all is leaning same side. These multiple details give the impression which one feels the breath of the wind.
The draws on the dress are circular. This is not a chance it is a symbol to be brought closer with the reasons the dress the young woman of the Kiss by Klimt whose painting was not carried out yet. (1907).
Light : Boreas is enlightened of in bottom and the left. It is especially the face the arms and the top of the body which is the zones most enlightened.
Colors : Harmonize of analogy between cold colors.
Toiles Similaires :
John William Waterhouse. Windflowers. 1903.
John William Waterhouse. The Lady of Shalott. 1888.
John William Waterhouse. Lamia. 1909.