John William Waterhouse painted several artworks portraying a character of ancient Roman mythology, Flora, the Goddess of spring, flowers, and youth. The oil painting entitled Flora was concluded in 1891 and was inspired by the artists’ trip to the island of Capri in Italy. The same Goddess was depicted a year earlier in the work Flora, and also in the painting Flora and the Zephyrs, concluded in 1898. Greek and Roman mythology were often connected and have equivalent characters – for example, Chloris was the Greek version of Flora, and can be seen in Sandro Botticelli’s Allegory of Spring (La Primavera). According to the myth, she was married to Zephyr, also known Favonius, the God of wind, but had a great love for Hercules.
Different from Botticelli’s portrayal, as well as the work of his Renaissance colleagues, Flora follows the Pre-Raphaelite movement – meaning it went against some implications of the Academies. Waterhouse had a classical background as a student of the Royal Academy of Art in London and was featured in many of their exhibits, but soon joined the Brotherhood, which was originally founded the year he was born. As the name states, the artists of the Pre-Raphaelites focused on themes before Raphael, highlighting subjects of Arthurian legends, mythological themes and the medieval times. Waterhouse also adapted his color palette with lighter tones, like the other artists of the movement. The British painter brought the Brotherhood into the next century and was praised for his production.
In Flora, Waterhouse used a long, vertical canvas to depict a portrait of the Goddess. The surroundings show the atmosphere of the Italian island of Capri, with typical architecture and grape vines. The protagonist sits alone on a concrete bench wearing a pure white robe that falls off one shoulder and reaches her feet. A golden yellow fabric is tied around her waist, holding her dress. She is featured barefoot, with light skin and dark hair, while holding a straw fan. The bench has a lion foot as a base, and behind the model, there is a small arc entrance with a beautiful blue marble block. A small bronze statue sits on the marble, along with white flowers and dark blue irises. The top of the composition shows a balcony with distinctive ceramics, typical to the location, as well as a wooden structure with intertwining grapevines.
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Flora 1891
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