Jason and Medea (1907 CE)

Jason and Medea by John William Waterhouse is an oil painting that draws viewers into the heart of a Greek mythological tragedy. This evocative artwork captures a pivotal moment between the hero Jason and the sorceress Medea. With its rich symbolism, vibrant colors, and Pre-Raphaelite attention to detail, the painting invites exploration of love, magic, and impending doom, offering a window into Waterhouse’s fascination with powerful female figures and ancient narratives.

Created in 1907, Jason and Medea emerged during the late Victorian era, a time when fascination with Greek mythology and literature flourished in Britain. John William Waterhouse (1849–1917), a British painter born in Rome to artist parents, was deeply influenced by classical antiquity and the Pre-Raphaelite movement. The painting draws from Apollonios Rhodios’ Argonautica (3rd century BCE) and Euripides’ Medea (431 BCE), depicting the moment when Medea, a Colchian princess and sorceress, prepares a magical potion to aid Jason in his quest for the Golden Fleece. Exhibited during Waterhouse’s prolific career, when he regularly showcased works at the Royal Academy, this piece reflects the era’s romanticized view of myth, blending sensuality with tragedy. The painting, completed late in Waterhouse’s life, is a testament to his enduring exploration of mythological themes and his mastery of dramatic storytelling.

Waterhouse, who grew up surrounded by Roman ruins, was nicknamed “Nino” in his youth, a nod to his Italian upbringing that shaped his love for classical themes. His fascination with Medea aligns with his broader oeuvre, which often portrays women as both victims and agents of power, as seen in works like The Magic Circle (1886) and Circe Offering the Cup to Ulysses (1891). An interesting detail is that the painting, now in a private London collection, has rarely appeared at auction, making it a hidden gem among Waterhouse’s works. 

Jason and Medea holds significant cultural and artistic weight within the Pre-Raphaelite tradition and Victorian fascination with antiquity. The painting embodies the Pre-Raphaelite emphasis on vivid colors, intricate details, and symbolic depth, while Waterhouse’s romantic realism adds a sensual, almost melancholic tone. Medea’s portrayal as a powerful yet tragic figure challenges Victorian gender norms, presenting her as both a devoted lover and a harbinger of destruction. The red dress she wears symbolizes passion and danger, while the cauldron and herbs evoke alchemy and witchcraft, tying her to ancient traditions of magic. Scholars, such as Joseph A. Kestner in Masculinities in Victorian Painting, interpret the work as a commentary on “dangerous” femininity, reflecting societal anxieties about women’s agency. Within the broader context of Greek mythology, the painting captures the timeless themes of love, betrayal, and hubris, making it a poignant reflection of human complexity.

The painting measures 134 cm × 107 cm (53 in × 42 in) and is executed in oil on canvas, a medium Waterhouse favored for its versatility. His technique involved layering oil paint to create depth and texture, particularly in the flowing red fabric of Medea’s dress. He used broad brushes for larger areas like the background and finer ones for intricate details, such as the herbs in Medea’s cauldron and the gleam of Jason’s armor. The color palette—warm reds and golds contrasted with cool blues—enhances the painting’s emotional intensity, with the red dress symbolizing passion and the blue background hinting at the ominous fate awaiting the couple. 

Jason and Medea was likely exhibited at the Royal Academy, where Waterhouse was a prominent figure, though specific records of its display are limited. After its creation in 1907, the painting passed into private hands and remains in a private collection in London today. Unlike some of Waterhouse’s more famous works, such as The Lady of Shalott, it has not been widely documented in public auctions, adding to its mystique. Its journey from Waterhouse’s studio to a private collection underscores its status as a cherished yet elusive piece in his oeuvre.