Feature image: Rogelio de Egusquiza, Tristan and Isolt (Death), 1910 via Google Arts Project
The Myth of Tristan and Isolde Throughout Art History
The chivalric romance of Tristan and Isolde became popular in the 12th century in French medieval poetry by the poet Béroul. The story reveals the passionate yet doomed love affair between the Cornish knight Tristan and the Irish princess Isolde. The myth has been vividly captured in art from different periods, illustrating the enduring appeal of this timeless narrative.
A Tale of Tragic Romance:
The legendary story of Tristan and Isolde is one of the most famous tales of medieval romance. It blends the genre’s themes of chivalry, love, and tragedy. Its variations span centuries and cultures.
The myth primarily revolves around Tristan, a Cornish knight, and Isolde, an Irish princess. Tristan is the nephew and a vassal to King Mark of Cornwall, who Isolde is set to marry. Tristan is sent to Ireland to fetch the princess for the marriage. During the journey back to Cornwall, Tristan and Isolde accidentally drink a love potion intended for the bride and groom. In some variations, this potion was given to the bride-to-be by her mother. In others, the potion is given to Isolde to share with Mark, but she offers it to Tristan instead. The potion binds them in a passionate and deep love affair.
Despite their intense connection, Tristan and Isolde must keep their affair a secret. They both strive to maintain fidelity to the King but are inevitably exposed. The discovery of their affair results in their exile. Here, the versions diverge on what happens to the pair, but the typical ending is their death. Tristan dies in Isolde’s arms, and she collapses beside his body and dies. Two trees grow from their graves and intertwine their branches in unity.
Artistic Depictions
The Tristan and Isolde Tapestries (late 14th century)
The earliest artistic depictions of the narrative appear in a grand tapestry format. These tapestries depicted various scenes from the legend, including the iconic moment when Tristan and Isolde drink the love potion. The vibrant colors and intricate details of these significant works of art offer a grand storytelling method accessible to the nobility of the time.
A tapestry found in Germany ornamented with 22 scenes from the Tristan legend. The style is unsophisticated yet effective, as telling a story with images was important during a time of low literacy.
The Madness of Sir Tristram, Edward Burne-Jones (1860s)
The mid-1850s saw a revival in interest in medieval legends, led by Dante Gabriel Rossetti and the pre-Raphealites’ infatuation with the subject and a rise in English nationalism.
Edward Burne-Jones worked on four panels for a stained-glass design for the newly founded Morris, Marshall, Faulkner, and Co. Burne-Jones designed The Wedding of Sir Tristram, The Madness of Sir Tristram, King Mark preventing Iseult from slaying herself and The Tomb of Sir Tristram. His work showcases a blend of medieval symbolism and Victorian sensibilities, effectively capturing the emotional depth of the two lovers.
Tristan and Isolde with the Potion, John William Waterhouse (1916)
Waterhouse, known for depicting women in mythology and Arthurian legend, captures Tristan and Isolde together on the boat just before drinking the poison. In the version Waterhouse references, the couple has already fallen in love and chooses to drink poison, preferring to die together than be separated. However, the poison was switched to a love potion, causing them to fall even madly in love.
Desperation can be seen on Isolde’s face as she holds the golden goblet with both hands and turns toward Tristan. On Tristan’s side lies his helmet and sword, symbolizing his duty to the King. A throne on Isolde’s side symbolizes her duty to marry the King. Isolde’s windswept cloaks leave the painting with romantic tension.
Tristan and Isolde, Salvador Dali (1944)
In 1944, Surrealist master Dali painted the legend of Tristan and Isolde for a production of the ballet Mad Tristan to music by Richard Wagner. This piece has two versions: a small oil on canvas and an entire performance set now owned by a private collector.
Dali references the version of the legend in which Tristan dies of despair and Isolde later dies of suicide. In Dali’s view, Tristan was so consumed with love that he saw Isolde as “a praying mantis devouring its half.” He portrays Tristan as a bleeding hero wearing a dandelion beret. The two intertwining trees that are said to grow from the couple’s graves emerge from his back. Isolde reaches out to him with a cart emerging from her back. Two crutches frame the stage.
The enduring popularity of the legend of Tristan and Isolde throughout art history can be attributed to the timeless themes of love, betrayal, and tragedy. From the ornate tapestries that hung in medieval courts to surrealist depictions of love’s all-consuming power, artists have continually drawn inspiration from this myth to explore the depths of human emotion.
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