![]() ![]() All four representations of the Lady of Shalott show her being struck by the curse that is visited upon her when she dares to look directly at the world beyond her window. Rodgers, ‘The Development of William Holman Hunt’s Lady of Shalott’, in Brown University, Ladies of Shalott: A Victorian Masterpiece and Its Contexts, Brown University, Providence, Rhode Island, 1985, pp. For discussions of the ‘precursory’ nature of the early versions, see Mary Bennett, William Holman Hunt, Walker Art Gallery, Liverpool, 1969, p. 4 William Holman Hunt, The Lady of Shalott (c.1886–1905), tempera and oil on panel, 44.4 x 34.1 cm, Manchester City Art Gallery. 3) and the smaller panel in the Manchester City Art Gallery. but most scholarly attention has focused upon their relationship to Hunt’s mature visualisation of the theme in his two painted versions of The Lady of Shalott – the large oil painting of 1886–1905 in the Wadsworth Atheneum (fig. ![]() Stein, ‘The Pre- Raphaelite Tennyson’, Victorian Studies, vol. The significance of both works has long been recognised, 3 See Tate Gallery, The Pre-Raphaelites, Tate Gallery & Penguin Books, London, 1984, p. ![]()
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