Published: December 18, 2018
Together outside the UK for the first time, what can Millais’s Ophelia and Waterhouse’s The Lady of Shalott tell us about shifting standards of female beauty?
Her lips are parted, her hands grasp the air and her eyes are half-open, as if in sublime submission. The tragic heroine Ophelia – as represented in John Everett Millais’s 1852 painting – lies in a near orgasmic state at the moment of her death.
But if reproductions of the image are now so ubiquitous as to be un-noteworthy – adorning gift cards, purses and tote bags – it is worth remembering that at the time of its creation Ophelia was considered by many to be scandalous.
Continue reading...from The Guardian https://ift.tt/2QAsjbo
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