Mariana in the South John William Waterhouse (1849-1917)

In the painting Mariana in the South, Mariana, a Pre-Raphaelite figure inspired by Tennysons poem, is depicted in a dimly lit, grand interior. She stands before an ornate, arch-topped mirror, her reflection staring back. Her long, auburn hair cascades down her back and over her shoulders, partially obscuring her white gown and the rich, purple-trimmed tunic she wears beneath. Her hands are raised, adjusting a collar or necklace.
The room is floored with a striking black and white checkered pattern. To the left, a heavy, carved wooden pillar supports the mirror, which also holds a lit candle. In the background, architectural elements suggest a noble, albeit somewhat melancholic, dwelling, with a window hinting at daylight filtering in. Scattered on the floor are crumpled sheets of paper, some with red seals, suggesting unopened or discarded letters.
The subtexts of the painting revolve around themes of isolation, longing, and thwarted love. Marianas solitary gaze into the mirror, the vastness of her surroundings emphasizing her aloneness, and the discarded letters all speak to her yearning, likely for a lover who is absent or perhaps has forgotten her. The opulent setting contrasts with her apparent ennui, suggesting a gilded cage from which she cannot escape. The title itself, Mariana in the South, evokes both a specific location and a mood of southward-bound longing, perhaps for warmer climes or a distant love. The overall atmosphere is one of poignant melancholy and waiting.