What attracted the Pre-Raphaelites to Alfred Tennyson’s poem ‘The Lady of Shalott’? And how did the convex mirror from van Eyck’s ‘Arnolfini Portrait’ come to play an essential role in their depictions of the mysterious weaver and her deadly curse? Watch the full film here: http://bit.ly/2yMW3o6 Members go free to 'Reflections: Van Eyck and the Pre-Raphaelites'. Pre-book tickets online and save: http://bit.ly/2xIgt4t | National Gallery

If you miss seeing The Lady of Shalott like we do, this short video reminds us of her tragic tale, and tells the story of the painting by John William Waterhouse. https://bit.ly/3aRxaeA | Tate

The Lady of the Shalott (1888) was painted by the British artist John William Waterhouse (1849-1917). It shows a scene from the similarly-named lyrical ballad from 1832 by Alfred, Lord Tennyson. The poem tells the tragic story of Elaine of Astolat who was stuck in a tower on the island of Shalott, up the river from Camelot. Elaine could only look at the outside world through the reflection in her mirror. But when she sees the handsome knight Sir Lancelot riding by, she cannot resist looking dire

🖼️ The Lady of Shalott 🎨John William Waterhouse (British, 1849–1917) 1888; Oil on canvas 🎥 @museum_of_moving_art Waterhouse’s The Lady of Shalott portrays the tragic heroine from Alfred, Lord Tennyson’s poem, drifting down the river toward her fate. Cursed to weave the world’s reflections without ever looking directly outside, the Lady, now broken and resigned, leaves her loom and ventures toward Camelot. Her expression of sorrow and longing, paired with her graceful posture, captures the poi