The Lady of Shalott, oil paint and gold leaf on linen canvas, 66x84cm, 2020. ©Elina Siddal
If "the noblest painting is a painted poem", what could be more in tune with our times than Tennyson’s Lady of Shalott? Started during the pandemic, this painting makes us ponder a well known artistic dilemma: living a life of imagination in the isolation of our own golden tower while searching for a way to face the reality of the outside world. The mirror - here materialized by the surface of the canvas - emphasizes the role of the artist's vision in the stillness of self-reflection. The red swallow, a Victorian sweetheart symbol, embodies the ambivalence of love in the poem; both a curse and a cure.
“But in her web she still delights
To weave the mirror's magic sights,
For often thro' the silent nights
A funeral, with plumes and lights
And music, came from Camelot:
Or when the moon was overhead
Came two young lovers lately wed;
'I am half sick of shadows,' said
The Lady of Shalott.”
Alfred Lord Tennyson, The Lady of Shalott, 1842.