Circe Invidiosa by John William Waterhouse (Interpretation and Analysis)

Circe Invidiosa
Source: Art Gallery of South Australia

Artists of the Pre-Raphaelite movement were often interested in portraying mythology and classical literature. The Pre-Raphaelite movement was inspired by a desire to create serious and realistic art that was also pleasing to the eye. Pre-Raphaelite painters were not interested in “trivial” scenes of everyday life, preferring to focus on symbolism rich subjects such as mythology. While many artists tackled these subjects, Pre-Raphaelite painter John William Waterhouse was particularly interested in one mythological character: Circe.

In Greek mythology, Circe was an enchantress, and is well known for her magical antics in Homer’s Odyssey, in which she famously turned Odysseus’ sailors into pigs. She is the often regarded as the classic femme fatale of Western literature, and, as such, was a popular subject for artists such as Waterhouse.

In fact, Waterhouse painted the sorceress Circe four times, capturing three different mythological scenes. However, it is Waterhouse’s second painting of Circe that is my favorite: Circe Invidiosa (which roughly translates to Circe, Jealous). This painting captures the story of the naiad Scylla, who was supposedly transformed into a monster by Circe, who was jealous that Scylla was loved by the fisherman Glaucus. In Circe Invidiosa, we see Circe pouring a poisonous potion into the calm waters of a bay, while Scylla writhes underneath the water, in the midst of a painful transition to a monstrous body.

Circe stands tall above the water, invested with a foreboding aura of menace. Her expression conveys deep psychological ambivalence, containing anger, jealousy, and the desire to inflict harm. For Waterhouse, it is clear that the painting presented an opportunity to explore character and personality. The piece is dominated by Circe’s psyche, and her mental state—as conveyed by her face and body—is forced to carry the narrative, while monstrous Scylla is confined to the shadows. It is a beautiful, yet ominous painting that seeks to enter the mind of a dangerously determined woman.

Disclaimer: I’m not an art historian or an expert on this topic. The above is my opinion, based on my interpretation of my foreknowledge of art and history. If I’ve done any additional research, I’ll note it above.