Elizabeth Siddal, a woman of working-class origins, harbored aspirations beyond the confines of her societal station. She possessed a passion for art that burned brightly within her, driving her to pursue her dreams with unwavering determination. However, her path to artistic recognition was fraught with obstacles, chief among them the societal constraints that sought to confine her to the role of a mere model.
Elizabeth Siddal may not be a household name, but her presence permeates the iconic paintings of the 19th century, etching itself into our cultural consciousness. Often cast in roles of tragic beauty, from Shakespeare’s Ophelia to Dante Alighieri’s ethereal muse, Siddal’s story unfolds against a backdrop of romance, fragility, and untimely demise at the tender age of 32, shrouded in the haze of laudanum.
The tragedy of Ophelia, the ill-fated character from Shakespeare’s Hamlet, is etched deeply into the annals of literary history. Her heart-wrenching demise, portrayed through her watery end, remains a poignant emblem of despair and sorrow. While Shakespeare’s text vividly describes her tragic fate, it was the brush of the Pre-Raphaelite artist John Everett Millais that brought Ophelia’s final moments to life on canvas in 1851.
At the time of Millais’ endeavor, Victorian England was undergoing a renaissance of sorts, with a resurgence of interest in Elizabethan drama. Millais, inspired by this cultural revival and captivated by the tragic tale of Ophelia, set out to immortalize her in paint. However, what many are unaware of is the harrowing ordeal that unfolded during the creation of this iconic masterpiece—a tale that intertwines the lives of two remarkable individuals: John Everett Millais and his model, Elizabeth Siddal.
In his quest to recreate the poignant scene of Ophelia’s watery demise, Millais spared no effort in his attention to detail. He sought authenticity in every aspect of the painting, from the lush flora surrounding Ophelia to the intricate details of her attire. Yet, little did he know that his pursuit of artistic perfection would unwittingly jeopardize the life of his model, Elizabeth Siddal.
Siddal, herself an artist and poet, was chosen by Millais to embody the tragic figure of Ophelia. Immersing herself in the role, Siddal posed for hours on end in a bathtub filled with water, enduring the chilling temperatures and discomfort for the sake of art. However, as the hours stretched into days, Siddal’s health began to deteriorate rapidly.
The icy waters took their toll on Siddal, plunging her into a state of near hypothermia. Stricken by fever and exhaustion, she was on the brink of collapse, her life hanging in the balance. It was only through the swift intervention of Millais and his colleagues that Siddal was rescued from the brink of death, pulled from the bathtub and wrapped in warm blankets.
The incident served as a stark reminder of the dangers inherent in the pursuit of artistic perfection. While Millais succeeded in capturing the haunting beauty of Ophelia’s final moments, the toll it took on his model serves as a cautionary tale—a reminder of the sacrifices often made in the name of art.
Despite the perilous ordeal she endured, Siddal’s legacy endures alongside Millais’ masterpiece. Her contribution to the iconic portrayal of Ophelia is a testament to her dedication and passion as an artist, immortalizing her as more than just a model, but as a muse who breathed life into one of Shakespeare’s most tragic characters. And though her brush with death may have been forgotten by many, it serves as a poignant reminder of the fragility of life and the transformative power of art.
Yet, amidst the tales of Siddal’s tumultuous relationships and delicate health lies a lesser-known narrative—one of artistic prowess and poetic expression. While she is renowned for her captivating portrayal as a model for artists like Dante Gabriel Rossetti and John Everett Millais, Siddal’s own contributions as an artist and poet have often been overshadowed.
The Tate Britain’s latest exhibition, “The Rossetti,” seeks to rectify this oversight, placing Siddal at the forefront alongside her husband, Dante Gabriel Rossetti, and his sister, Christina Rossetti. Featuring over 30 of Siddal’s works, this exhibition marks the largest showcase of her art in three decades.
As the sole female artist in the ephemeral yet romanticized Pre-Raphaelite movement, Siddal’s role has long been confined to that of a muse. However, scholars and curators are now shining a spotlight on her infrequently exhibited artworks, comprising approximately 60 works on paper and a handful of paintings.
According to Carol Jacobi, curator at the Tate, Siddal’s limited exposure is partly due to the fragility of her works and the prevailing biases against historical women artists. “It’s still a bit of a battle,” she remarks, highlighting the ongoing struggle for recognition faced by women in the art world.
Siddal’s art defied realism, embracing beauty and fantasy to encapsulate emotionally charged scenes from poetry. Predominantly composed of watercolors and sketches, her only known oil painting—a tender self-portrait on a circular canvas—has been lost to time.
The need for a more balanced representation of Siddal as a pioneering artist in her own right has been long overdue. Institutions are increasingly recognizing the contributions of women who were once relegated to the sidelines, such as photographer Dora Maar and painter Suzanne Valadon.
However, acknowledging Siddal’s significance has been a complex journey marred by myths and misconceptions. Despite advocacy from scholars like Jan Marsh, distorted narratives about Siddal persist, perpetuated by TV and film portrayals that reduce her to a haunted figure.
Siddal’s true legacy transcends these simplistic portrayals. Despite being largely self-taught, she was not merely plucked from obscurity while working in a hat shop, as myths suggest. Moreover, her struggles with health and addiction have likely been exaggerated.
Her untimely death, often portrayed as suicide, is a subject of contention among historians. Marsh posits that Siddal likely succumbed to an opiate overdose during a post-partum psychosis, challenging the prevailing narrative of her as a tragic figure.
Jacobi believes that Siddal’s collaboration with Rossetti was more nuanced than previously assumed, with both artists drawing inspiration from each other. Siddal’s visionary approach to art might have been more widely appreciated if she had lived to witness the next wave of artistic movements.
Through “The Rossettis,” Jacobi aims to present Siddal’s true story—a working-class woman who defied societal constraints to pursue her passion for painting and poetry. Her contributions, though largely unrecognized in her time, pave the way for future generations of female artists.
Elizabeth Siddal’s journey from muse to artist invites us to reevaluate our perceptions and delve deeper into the complexities of her life and work. As her narrative shifts from tragedy to triumph, we honor her as a trailblazer ahead of her time, leaving an indelible mark on the canvas of history.