Pharaoh’s Handmaidens (1883 CE)

Pharaoh’s Handmaidens, painted by John Collier in 1883, is a mesmerizing preraphaelite vision of ancient Egypt, steeped in the Victorian era’s enchantment with orientalism and Egyptology. This evocative portrayal of young women, court attendants or handmaidens, in a vivid and emotionally charged scene, draws viewers into a world of mystique, power, and romanticized beauty. With its intricate details and dramatic composition, the artwork captivates, offering a glimpse into a fantastical past that resonates with historical allure.

Created in 1883, Pharaoh’s Handmaidens emerged during the peak of European fascination with ancient Egypt, fueled by Napoleon’s expedition (1798–1801), the decipherment of the Rosetta Stone, and Britain’s colonial presence in Egypt after 1882. John Collier, a distinguished British portraitist and vice-president of the Royal Society of Portrait Painters, crafted this work as part of his exploration of mythological and historical themes. 

Collier, married to two daughters of scientist Thomas Huxley, moved in intellectual circles that likely informed his choice of exotic subjects. The painting’s creation in 1883, during a time of rigid Victorian social norms, allowed Collier to explore themes of sensuality and power through the lens of an ancient, “distant” culture. Its classification as a “nude painting” in some sources suggests partial nudity, a common orientalist trope that would have intrigued audiences at exhibitions like the Royal Academy, where Collier displayed over 130 works. The work’s dramatic flair likely sparked curiosity among viewers about the imagined lives of these Egyptian women.

The painting exemplifies the 19th-century European tendency to depict the “Orient” as exotic and sensual, portraying ancient Egypt as a realm of grandeur and mystery. The handmaidens, as archetypes of Egyptian femininity, may symbolize beauty, loyalty, or submission to pharaonic authority, potentially alluding to themes of power and ephemerality. The painting’s preraphaelite qualities—vivid colors, meticulous detail, and idealized forms—align with the movement’s reverence for medieval and mythological aesthetics. However, its orientalist perspective invites contemporary critique for reinforcing colonial stereotypes. For its Victorian audience, the work’s emotional depth and aesthetic richness made it a striking contribution to discussions of history, empire, and beauty.

While exact measurements are unavailable, Pharaoh’s Handmaidens is an oil painting on canvas, typical of Collier’s preraphaelite style. It features a group of women in Egyptian-inspired attire—rendered with romanticized rather than historically accurate details. The figures’ expressive poses and partial nudity, amplifying the scene’s drama. Collier’s brushwork is fine, with a luminous palette noted for unexpected color combinations, though sometimes criticized as “flat.” 

The provenance of Pharaoh’s Handmaidens is partially documented. Created in 1883, it was subsequently acquired by a private collector where the painting remains.