Ovid's Orpheus & Eurydice
Artistic Analysis: A Love's Sunset
Sir Edward Poynter, born on March 20 1836 in Paris, was an English painter and designer. He was schooled at Brighton College but left early due to health complications. As a result, he spent his winters in Madeira and Rome, in the latter of which he met painter Fredrick Leighton and studied in his studio. When he was thirty-three years old, the Royal Academy admitted him into their program and two years later, he became the first Slade Professor London. His many works are generally painted with oil on canvas often and illustrate mythological scenes and figures. Even in his portraits, the subjects seem to be wrapped in their activities, never acknowledging the viewer. These choices contribute to the dynamic, movie-like quality his work exhibits. His piece “Orpheus and Eurydice” is no different.
Old Brightonians Brighton College
Painted by Edward Poynter in 1862, “Orpheus and Eurydice” depicts the optimistic and dreadful journey of its namesakes out of the underworld. On one hand, the piece captures Orpheus’ emotions of relief and joy as the two near the surface. For example, the painting’s orange wash evokes the elusive shine of a sunset. Although deep blue air and a thick, gloomy fog cradles the cliffs they walk on, the warmer tones that pop out of the oil convey a sense of hope for their journey. After going to the underworld to save his love, Orpheus is finally at the cusp of returning her to the land of the living, where they will presumably live happily ever after. Moreover, his bright orange garb, the same color as the wash, also suggests his excitement. Carrying the ornamented lyre that aided in his rescue of her, he leads Eurydice away from the darkness of the underworld—depicted by the darkness in the lower left hand corner—toward the light of the surface world—depicted by the warmer hues around his feet.
"Orpheus and Eurydice" by Edward Poynter, Wikimedia Commons
However, his blood red cape also begins to allude to another dimension of this piece. Through his portrayal of Eurydice, Poynter foreshadows her imminent demise. First, the paleness of her visage and skin suggest that, though he has come to rescue her from Hades, she is still a fallen soul. In her expression too, one sees that whereas Orpheus looks determined, she looks unsure and even reluctant. Second, that her feet are firmly planted in the ground further exhibits her caution. Additionally, juxtaposed against the vibrance of not only his skin and face but also his clothing, the unsaturated tan of her face and baggy white clothes, evoking the dress of an angel, subtly point to her death. Furthermore, the tiny red strand of silk or string attached to her clothes may reference the unbreakable connection a human has with their mortality. Poynter suggests that no man has the license to tamper with the judgment of death. Third, the snakes in the foreground represent the looming danger they find themselves in. As symbols of deception, despite their outwardly aggressive bearing, they may be warning her that her journey to home will not be what it seems. The two on the left in particular, seem to be threatening her aggressively while the one on the right assumes a guarded position toward Orpheus. This configuration of the serpents implies that although he will be allowed back, the creatures of the underworld bid that she stay. Like the aforementioned looming darkness, their presence is subtle and raises just the suspicion of her.
Thus, although Poynter could have used the warm base tones to convey the sense of optimism Orpheus feels when he climbs the path of the underworld, the sunset theme, along with several other of his artistic choices, likely suggest that their love approaches its end. Like a sunset, she is beautiful and elusive, and eventually, destined to return to darkness.