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About this work
In this painting, Waterhouse captures the moment of Circe's jealous rage—the goddess at the moment her envy transforms from internal torment into dangerous action. The composition places her centrally, her figure draped in rich, classical garments that speak to her divine status, her posture and expression conveying a turbulent emotional state. The palette is warm and shadowed, dominated by ochres and deep reds that suggest both luxury and emotional intensity. Waterhouse renders the scene with the luminous detail characteristic of his later work: every fold of fabric, every gesture, every glance carries psychological weight. The title's Latin word—*invidiosa*, the envious one—announces that this is not a portrait of Circe in her power, but Circe consumed by it.
In Waterhouse's hands, Circe becomes a study in the consequences of immortal desire. Where Homer's *Odyssey* presents her as an enchantress of calculated sorcery, Waterhouse explores her as a figure undone by passion and jealousy—a subject that resonated deeply with Victorian and Edwardian audiences fascinated by the tragedy of women trapped by emotion and circumstance. This work sits alongside his many depictions of legendary women—Ophelia, the Lady of Shalott—all caught in moments of psychological crisis. His Roman childhood and his engagement with classical literature gave him an intimate understanding of these mythic figures as vessels for exploring human vulnerability.
This print belongs in a space that can hold its emotional intensity: a study, a bedroom, or a gallery wall where natural light can play across its depths. It speaks to viewers drawn to classical narrative and psychological portraiture—those who see in Circe not a villain, but a woman undone.
About John Waterhouse
Working in late Victorian England, he became the painter who carried Pre-Raphaelite sensibility into the twentieth century, long after the original Brotherhood had dissolved. His signature is the solitary woman from myth or literature - sorceresses, nymphs, doomed heroines - rendered with a loose, almost Impressionist handling of paint that sets him apart from the tighter finish of Rossetti or Millais. Trained at the Royal Academy and a regular exhibitor there from the 1870s until his death in 1917, he drew constantly on Ovid, Tennyson and Arthurian legend.
For a contemporary viewer, the appeal is direct: narrative paintings that still hold their atmosphere, neither sentimental nor cold.
