Lilith (1892 CE)

John Collier’s Lilith (1892 CE) is a captivating oil painting that portrays Lilith, a mythological figure from Jewish folklore known as Adam’s first wife and a symbol of seduction and rebellion. Rendered in the Pre-Raphaelite style, the artwork depicts a nude woman with golden hair, entwined with a serpent in a dark, lush setting. The painting’s sensual imagery and rich symbolism draw viewers into Lilith’s enigmatic story, blending beauty with an aura of danger that invites exploration of her complex narrative.

Created by John Collier (1850–1934), an English artist influenced by the Pre-Raphaelite movement, Lilith was painted in 1892. The painting reflects the Pre-Raphaelite fascination with mythology, literature, and the femme fatale archetype. It emerged during the Victorian era, a time of strict moral codes, making its provocative depiction of a demonic yet alluring woman highly controversial. The artwork captures the movement’s emphasis on detailed realism and symbolic narratives, positioning Lilith as a figure of both allure and defiance.

When displayed, the painting elicited strong reactions. The Photographic News praised the technical brilliance of the nude study fibrin, while The Athenaeum commended its meticulous execution. However, critics like The British Architect found the subject “repulsive” and “abhorrent” due to its sensual and dark themes, and The Spectator criticized it for lacking “poetry and feeling.” These polarized responses underscore the painting’s ability to challenge Victorian sensibilities, sparking debates about art’s role in depicting morally ambiguous figures like Lilith.

Lilith is a pivotal work within the Pre-Raphaelite movement, which sought to revive the detailed and symbolic art of the early Renaissance while exploring themes of beauty, rebellion, and mythology. The painting reimagines Lilith, a figure rooted in ancient Mesopotamian and Jewish traditions, as a symbol of sensuality and autonomy. Her unashamed nudity and commanding presence defy Victorian ideals of feminine modesty, aligning with the era’s fascination with the femme fatale. By portraying Lilith as both seductive and autonomous, Collier’s work prefigures modern feminist interpretations of her as a symbol of resistance against patriarchal structures. The serpent, a nod to the biblical Fall, and the lush, Eden-like setting amplify the painting’s exploration of temptation and power, making it a bridge between romanticism and emerging feminist thought.

Lilith’s narrative, drawn from Jewish folklore and earlier Mesopotamian myths, shapes the painting’s thematic depth. Originating in ancient Mesopotamian texts (circa 4000 BCE) as a demon associated with storms and death, Lilith evolved in Jewish tradition, particularly in texts like the Alphabet of Ben Sira (700–1000 CE), into Adam’s first wife. According to the myth Lilith was created from the earth, like Adam, making her his equal, unlike Eve, who was formed from Adam’s rib. This equality fueled Lilith’s demand for mutual respect in their relationship. Lilith refused to submit to Adam, particularly in matters of sexual dominance, asserting her equality. When Adam insisted on her subservience, Lilith uttered God’s ineffable name and fled the Garden of Eden to the Red Sea. God then sent three angels—Senoy, Sansenoy, and Semangelof—to retrieve her, but Lilith refused to return. As punishment, she was transformed into a demon, cursed to lose her children (the Lilim, demonic offspring) and driven to prey on pregnant women and infants. Some traditions depict her as a seductress who lures men to their doom. In certain versions, Lilith returns to Eden disguised as the serpent, tempting Eve to eat the forbidden fruit, thus orchestrating humanity’s expulsion from paradise. This act cements her association with temptation and rebellion. Lilith’s story reflects themes of equality, defiance, and the demonization of female autonomy. Her refusal to submit positions her as a proto-feminist figure, while her transformation into a demon highlights patriarchal fears of independent women.

In Collier’s painting, Lilith’s role as a seductive yet dangerous figure is central. The serpent entwined around her body symbolizes her connection to the Fall and her demonic nature, while her unashamed nudity and serene gaze toward the serpent convey her autonomy and defiance. The dark, Eden-like background suggests both her origin and her exile, reinforcing her dual identity as a figure of beauty and menace. By drawing on Rossetti’s romanticized Lilith, Collier softens her demonic traits, presenting her as a complex, almost sympathetic character whose rebellion resonates with 19th-century anxieties about female power.

Lilith is an oil painting on canvas, measuring approximately 104 × 194 cm (40.9 × 76.4 inches). Collier’s Pre-Raphaelite technique employs fine brushstrokes to achieve lifelike detail in Lilith’s alabaster skin, golden hair, and the serpent’s scales. The warm color palette, with earthy greens and deep shadows, contrasts with Lilith’s luminous figure, making her the focal point. The dark, jungle-like background, often interpreted as the Garden of Eden, is rendered with meticulous detail, enhancing the painting’s sensual and mysterious atmosphere.

The painting’s provenance traces its path from creation to its current location at The Atkinson Art Gallery in Southport, England. Initially housed at the Bootle Art Gallery, it was transferred to The Atkinson in the 1970s, where it remains a highlight of the collection.