COVE

Display Explanation

The display of “Eve” by Felix Joseph Barrias, “Miranda – The Tempest” by John William Waterhouse, and “Lady Lilith” by Dante Gabriel Rossetti in a gallery setting would require a thoughtful curation that considers both the individual significance of each painting and how they converse with one another when placed in a specific order. Arranged from left to right – Eve, Miranda, and Lady Lilith,- the paintings should be displayed in such a way that their narrative and thematic progression are both clear and impactful.

            Upon entering the exhibition space, the viewer’s attention will first be drawn to Eve by  Felix Joseph Barrias, positioned on the far left of the room. The significance of the painting as the first in this trio cannot be understated, as it represents the foundational themes of innocence, temptation, and the origin of sin. Barrias’ soft, graceful rendering of Eve will be further illuminated by strategic lighting that highlights the delicate, flowing nature of her form and the lush garden surrounding her. The light should accentuate the serene and nearly dreamlike atmosphere of the painting, inviting the viewer to engage with the purity and fragility of Eve’s character. This first painting sets the tone for the exhibit, signaling the beginning of a larger exploration into the roles of women as represented in art. It would be helpful to provide a brief description of Eve’s symbolic significance, contextualizing her role in religious and cultural narratives, and emphasizing the contrast between her innocence and the implied consequences of her actions. The wall color behind Eve could be a soft, natural tone-perhaps a pale, warm hue- that compliments the serene ambiance of the painting and enhances the sense of purity.

            As viewers move toward the middle of the exhibition, they will encounter “Miranda – The Tempest” by John William Waterhouse. This painting’s position in the center of the display offers a transition from the theme of innocence to one of wonder and discovery. Waterhouse’s depiction of Miranda, poised in awe at the unfolding events around her, invites the viewer into the magical realm of Shakespeare’s, The Tempest, where she remains untouched by the complexities of the outside world. The lighting here should shift slightly to enhance the luminosity surrounding Miranda, highlighting her youthful vitality and the ethereal quality of her existence on the island. The painting’s placement between Eve and Lady Lilith suggests a progression in the exploration of womanhood-moving from a sense of fragility and unawareness to the excitement of new experiences and knowledge. To emphasize this transition, the wall color behind Miranda could be a slightly deeper, cooler tone-perhaps a soft light azure-to evoke the sense of the ocean and island setting in which Miranda resides. A brief description accompanying the painting could explain the character’s naivety and thematic contrasts between her purity and the looming presence of magical forces.

On the far right, “Lady Lilith” by Dante Gabriel Rossetti will complete the trio with its strikingly different tone and emotional depth. As the final piece in the series, Rossetti’s sensual and commanding portrayal of Lilith encapsulates a powerful pinnacle of feminine complexity. The lighting in this section should be more dramatic, highlighting Lilith’s striking red hair and the seductive, almost hypnotic quality of her gaze. The dark tones and rich colors of the painting will contrast with the earlier works, symbolizing a shift in the narrative- here, the viewer encounters a woman who fully embodies sensuality, autonomy, and the rejection of tradition gender roles. The wall behind “Lady Lilith” could be a deeper, richer shade—perhaps a muted crimson or royal purple—reinforcing the sense of sensuality, power, and mystery that Lilith exudes. To complement the darker, more intense atmosphere, the lighting should be directed with greater contrast, creating a dramatic effect that draws attention to Lilith’s form while allowing the surrounding shadows to deepen the emotional resonance of the piece. The description accompanying Lady Lilith would reflect the mythological and literacy background of the character, emphasizing her symbolism as an independent and rebellious figure.

As a whole, this exhibition of the three paintings would be designed to guide the viewer through a journey of feminine archetypes, each offering a unique perspective on womanhood. The gradual progression from Eve’s innocence to Miranda’s wonder, and finally to Lilith’s autonomy and sensuality, will create a thematic arc that is both engaging and thought-provoking. The careful placement of the paintings, along with their corresponding lighting and wall colors, will ensure that each piece is given the space it needs to be appreciated individually, while also encouraging the viewers to reflect on how the works interact with one another. The gallery space itself should be large enough to allow for this movement between the works, giving viewers the opportunity to contemplate each painting’s narrative and significance before moving on to the next. The overall experience would not only engage wit the aesthetic beauty of these works, but also provoke deeper reflection on the themes of gender, power, and the evolving representations of women in art.

Installation Note

Displaying the three paintings, “Eve” by Felix Joseph Barrias, “Miranda – The Tempest” by John William Waterhouse, and “Lady Lilith” by Dante Gabriel Rossetti in a left-to-right arrangement creates a striking narrative flow. Inviting the views to explore the themes of temptation, innocence, and the complexity of femininity. Each painting offers a distinct portrayal of women, weaving together elements of myth, literacy reference, and sensuality, creating a rich environment that spans over a range of emotional and psychological depths.

On the far left, we encounter “Eve” by Barrias, an evocative representation of the biblical figure of Eve. In this painting, Eve is depicted as a young, serene, and ethereal figure, standing in a moment of innocence before the fall from grace. The soft, flowing lines of her form and the lush garden setting emphasize her connection to nature and purity. Her downcast eyes and subtle contemplative expression hint at the complexity of her role in the narrative of original sin. Barrias captured Eve with both grace and vulnerability. Capturing the purity of a woman who, despite her association with temptation, remains a symbol of innocence. The careful constructed composition, with Eve placed in a natural environment, invites the viewer to consider the broader themes of desire, knowledge, and the precarious nature of human innocence.

Moving to the middle, we encounter “Miranda – The Tempest” by John William Waterhouse, a painting that draws on Shakespeare’s play, The Tempest and brings Miranda to life in a moment of awe and wonder. Unlike Eve, who is associated with temptation, Miranda represents purity and naivety in a different context. Waterhouse’s portrayal of Miranda shows her standing on the shore, gazing at the distant shipwreck and the magical world of the island she inhibits. The light around her suggests her untouched, innocent nature, and her dress blows around her, mimicking the ethereal atmosphere of her surroundings. In contrast to the contemplation of Eve, Miranda is filled with a sense of wonder and curiosity about the world around her, emphasizing the theme of discovery. Her wide-eyed gaze suggests the potential for growth and transformation, as she is yet untouched by the harsh realities of life beyond the island. Waterhouse’s rendering of Miranda balances innocence with anticipation, offering a glimpse into the unspoiled potential of youth.

Finally, on the right, we encounter “Lady Lilith” by Dante Gabriel Rossetti, which represents a stark contrast to the two-preceding works in its depiction of a woman who exudes sensuality, power, and complexity. In this portrait, Lilith is shown as a seductive and self-assured figure, her flowing ref hair and hypnotic gaze drawing the viewer into her world of enticement. Lilith, a figure from Jewish mythology, is often portrayed as the first wife of Adam who refused to be controlled, symbolizing independence and the rejection of conventional roles. Rossetti’s portrayal of Lilith is both alluring and dangerous, as she gazes directly at the viewer with almost a predatory intent. Her expression, combined with the carefully rendered details of her sensual form, presents a powerful image of femininity that is both captivating and mysterious. Unlike the innocence of Eve, or the wonder of Miranda, Lilith embodies a more mature, self-possessed version of womanhood that challenged traditional notions of female virtue. Rossetti’s depiction of her suggests a deep understanding of the complexity of female desire, power, and autonomy.

            In this arrangement, from left to right, these paintings trace a journey through various stages of womanhood, from innocence, to wonder, to self-possession. The progression of how these images speak to the multifaced nature of femininity, illustrating how women are often viewed through different lenses in art and culture. The comparison of Eve’s innocence, Miranda’s purity, and Lilith’s sensuality reflects the complex and varied roles women have been assigned throughout history and myth. This trio of works displayed together, offers a contemplation on the diverse and evolving representations of women, urging the viewer to consider how cultural narratives have shaped and defined female identity throughout the ages.

“Eve by Felix Joseph Barrias | Art.Salon.” Art.salon, 2019, www.art.salon/artwork/felix-joseph-barrias_eve_AID476423.  Accessed 19 Feb. 2025.

Rossetti, Dante Gabriel. Lady Lilith. 1866. https://en.wikipedia.org/wiki/Dante_Gabriel_Rossetti#/media/File:Lady-Lilith.jpg. Accessed 19 February 2025.

“British Miranda-the Tempest by John William Waterhouse | Art.Salon.” Art.salon, 2023, www.art.salon/artwork/john-william-waterhouse_british-miranda-the-tempest_AID194288.  Accessed 19 Feb. 2025.