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John William Waterhouse – La belle dame sans merci, 1893 La Belle Dame sans Merci by Henry Meynell Rheam, 1901 Arthur Hughes – La belle dame sans merci Frank Dicksee – La belle dame sans merci, c. 1901 Punch magazine cartoon, 1920 "La Belle Dame sans Merci" ("The Beautiful Lady without Mercy") is a ballad produced by the English poet John ...
La Belle Dame Sans Merci (1926) Titania Sleeps (1928) Sir Havilland De Sausmarez (1930) Mrs. Albert S. Kerry (1930) Pamela, Daughter of Lieut. Col. M. F. Halford (1930) La Belle Dame Sans Merci (1946) The Ugly Duckling (1950) The Legend of Sir Perceval (1952–53) The Four Queens Find Lancelot Sleeping (1954) Elizabeth, Daughter of Major ...
The Damozel of the Lake, called Nimue the Enchantress (Malory's "Le Morte d'Arthur") (1924) Lady Hildebrand Harmsworth (1925) Exhibited at the Royal Academy the same year. La Belle Dame sans Merci (1926) Exhibited at the Royal Academy the same year. Margaret, Daughter of Montague Napier, Esq. (1926)
Waterhouse was born in the city of Rome to the English painters William and Isabella Waterhouse in 1849, in the same year that the members of the Pre-Raphaelite Brotherhood, including Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt, were first causing a stir in the London art scene. [3]
The Lady of Shalott, an 1888 oil-on-canvas painting, is one of John William Waterhouse's most famous works. It depicts a scene from Tennyson's poem in which the poet describes the plight and the predicament of a young woman, loosely based on the figure of Elaine of Astolat from medieval Arthurian legend, who yearned with an unrequited love for the knight Sir Lancelot, isolated under an ...
Hughes, who has radial dysplasia of his right arm, is a powerful presence not just in his embodiment of the astute Medieval detective, but in how his casting demonstrates the changing times.
The body of La Belle Dame sans Mercy is composed of 100 stanzas of alternating dialogue between a male lover and the lady he loves (referred to in the French as l'Amant et la Dame). Their dialogue is framed by the observations of the narrator-poet who is mourning the recent death of his lady.
Kostas Boyiopoulus however, proposes that this statement does not take into account Burleigh's illustrations to Keats' ballad, "La Belle Dame sans Merci" which Boyiopoulus has described as a "nightmare" due to Burleigh's "faery's child" metamorphosing into a femme fatale. [7]