Victorian Gothic : The Unknown, The Strange, and The Supernatural
Spooky season is upon us, and while I may not indulge in the traditions of Halloween, I certainly crave a little thrill! What better way to kick off this season of ghosts, witches, and ghouls than by delving into the fascinating world of the Gothic revival?
The Victorian era, characterized by a unique blend of industrial progress and social upheaval, gave rise to a cultural obsession with all things synonymous with medieval Gothic - gargoyles, demons, and the supernatural. This revival wasn’t just a stylistic choice; it was a profound reflection of the anxieties and complexities of a rapidly changing 19th century English society.
From the chilling narratives of Gothic novels to the haunting imagery in the paintings of Edward Burne-Jones (1833-1898), Everett Millais (1829-1896), and William Blake (1757-1827), the Victorian Gothic movement encapsulated a rich interplay between literary and artistic expressions that echoed a fascination with the supernatural and the otherworldly.
A Very English Trend
At its core, Gothic revival represented a romanticized interest in England’s medieval past (namely glorified tales of King Arthur). This 19th-century trend celebrated the perceived benefits of a bygone era, emerging as a reaction against the rigid rational structures of Neoclassicism. As the movement evolved, it became a powerful symbol of social and political freedom, pushing back against the perfected efficiency that the Industrial Revolution promoted.
Many found solace in a nostalgic return to the collaborative spirit of artisans and craft laborers who had once built the nation’s magnificent pre-Reformation cathedrals and manors. In an age dominated by the dark, mechanized realities of industrial life, Gothic Revival offered an escape—a way to reconnect with a sense of community and artistry that seemed lost amidst the hustle and bustle of urbanization. This yearning for the past enriched the cultural fabric of the era and inspired a broader quest for freedom and creativity.
The Gothic trend permeated all areas of creative expression, from architecture to literature. It inspired tales of horror, romance, and psychological depth in novels like The Castle of Otranto, Wuthering Heights, and Dracula, while also finding its way into paintings depicting haunting figures in medieval scenes.
Illustration for The Castle of Otranto, Johann Wilhelm Meil (1794)
A Cultural Fascination with the Macabre
The supernatural, a main theme of Victorian Gothic, became a vehicle for writers and artists to explore madness, obsession, and moral decay. The uncanny— or rather, the familiar made strange—pervaded both the literary and artistic landscapes, resonating deeply in the works of writers who sought to illustrate the conflict between the known and the unknown. Gothic novels introduced readers to dark castles, supernatural occurrences, and the exploration of deep human emotions, elements that became staples of the genre.
Interestingly, these novels eventually evolved into tales of horror, romance, and psychological depth. Authors like the Brontë sisters, Bram Stoker and Oscar Wilde crafted stories that not only entertained but also provoked reflections on the conflicts between civilization (rationality and order) and primal instincts (feeling and intuition). These tales set in decaying mansions, eerie landscapes, and haunted castles created rich backdrops for exploring the reader’s deepest fears and desires.
Illustration for The Mysteries of Udolpho, Unknown Artist (1797)
A Newfound Interest in Arthurian Legend
While literature grappled with the complexities of the human psyche, Gothic revival in art provided visual representations of death and the supernatural. Artists and architects drew inspiration from medieval styles, resulting in ornate buildings adorned with gargoyles, intricate stained glass, and evocative illustrations that echoed the atmosphere of Gothic literature.
The general longing for the medieval past coupled with a fascination for mysterious tales naturally led Victorian artists towards Arhutian legend. This romanticized view of the medieval era placed King Arthur and his knights on pedestals, framing them as ideals of heroism, chivalry, and community, a stark contrast to the harsh realities of rising individualism and industrialization.
One prominent figure in this artistic revival was Edward Burne-Jones, a leading member of the Pre-Raphaelite Brotherhood. His works evoke mystery and enchantment, reflecting the psychological thrill of Gothic novels. Take, for instance, The Beguiling of Merlin which captures the moment when the sorceress Morgana lures Merlin into a trance. This moment embodies themes of enchantment, seduction, and the conflict between reality and illusion—hallmarks of Gothic storytelling. The painting’s rich, dark palette and intricate details create an otherworldly and dreamlike realm, inviting us to ponder the interplay between the magical and the mundane.
The Beguiling of Merlin, Edward-Burne Jones (1874-1877)
Death and Tragedy
Another important theme in the Victorian Gothic is the beautification of death and tragedy. Artists were particularly interested in the inevitability of death, portraying figures in states of mourning or in the act of dying. One of the most striking examples is Ophelia by Sir John Everett Millais, inspired by Shakespeare’s Hamlet. This striking work captures the tragic moment of Ophelia’s drowning, surrounded by lush, ethereal flora. As she slips into the water while picking flowers, the symbolism of the blooms—poppies for death, daisies for innocence, and pansies for love in vain—highlights the simultaneous beauty and horror intertwined in her sad fate.
Ophelia, Sir John Everett Milais (1851-1852)
Millais’s meticulous attention to detail and the naturalistic background painted from life by the Hogsmill River create a haunting yet breathtaking scene. This choice of subject matter reflects the profound emotional turmoil of Gothic narratives: Ophelia tragically descends into madness following her father’s murder by Hamlet and drowns herself. This interplay of beauty and sorrow invites us to contemplate the fragility of life. Another quintessential example of the - sometimes morbid - Victorian Gothic aesthetic.
The Supernatural and the Uncanny
Unsurprisingly, the supernatural and the uncanny loom large in Victorian Gothic art. The Ghost of a Flea, painted by William Blake, exemplifies this obsession with haunting imagery and the exploration of the supernatural. The spectral figure depicted in the painting evokes an eerie, otherworldly presence, surrounded by dark, ethereal elements that suggest a connection to the afterlife. This work captures the fear and psychological turmoil associated with the unknown.
The Ghost of a Flea, William Blake (1819-1820)
Blake’s intense use of color and dramatic contrasts enhances the unsettling atmosphere, inviting us to engage with the lesser understood and darker aspects of the human experience. The figure's ghostly presence evokes themes of death and the macabre, resonating with the Victorian era's interests in spiritualism and the occult. Spooky huh?
This visual representation of the supernatural tapped into the broader cultural anxieties of the time, where the boundaries between life and death, reality and fantasy, were increasingly blurred and questioned. Moreover, the painting's emotional intensity and the sense of unease it mirror the psychological depth found in Gothic literature, showcasing the complex interplay of fear, desire, and the uncanny that fascinated the Victorian audience. Through this exploration of fear the supernatural, The Ghost of a Flea embodies the Victorian spirit of the Gothic horror story, drawing on a general curiosity about what lies beyond our earthly realm.
Trick or Treat, Art Edition
As we dive into Halloween, it’s thrilling to explore how the Victorian Gothic revival connects to our modern festivities. While I might not be adorning my horns this coming 31st, the eerie narratives and haunting art from this era pique my interest.
The Victorian fascination with the supernatural, the macabre, and the mysterious allure of the past resonates with our present Halloween spirit. From the chilling tales of Dracula and to the mesmerizing paintings of Burne-Jones, Millais and Blake, the themes of death, tragedy, and the uncanny remind us of the darker corners of human experience—perfect fodder for scary storytelling.
Art works like Millais’s Ophelia and Blake’s The Ghost of a Flea invite us to confront our fears and engage with the unknown, much like the ghosts we love to summon during this time of year. So, as we revel in all things spooky, let’s celebrate the spirit of the Victorian Gothic, which not only enriches our Halloween experience but also encourages us to explore periods past.