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Ariel: 'Where the Bee Sucks...' by Joseph Severn

Ariel: 'Where the Bee Sucks...'

Joseph Severn·ca. 1826-1836

Historical Context

Joseph Severn's Ariel: "Where the Bee Sucks" depicts the airy spirit from Shakespeare's The Tempest singing his song of freedom, a subject that combined the Victorian cult of Shakespeare with the Romantic fascination with fairy and spirit subjects. Severn is best remembered as the devoted friend who accompanied John Keats to Rome and nursed him during his final illness. His paintings of literary and classical subjects reflect the artistic culture of the Anglo-Roman community.

Technical Analysis

Severn's oil-on-canvas technique creates a luminous, ethereal quality suited to the fairy spirit subject, with delicate flesh tones and soft atmospheric effects. The graceful figure and fantasy landscape demonstrate his ability to translate Shakespearean poetry into visual terms.

See It In Person

Victoria and Albert Museum

London, United Kingdom

Gallery: Paintings, Room 82, The Edwin and Susan Davies Galleries

Visit museum website →

Quick Facts

Medium
Oil on canvas
Era
Romanticism
Style
British Romanticism
Genre
History
Location
Victoria and Albert Museum, London
Gallery
Paintings, Room 82, The Edwin and Susan Davies Galleries
View on museum website →

More by Joseph Severn

Ariel by Joseph Severn

Ariel

Joseph Severn·1826

The Abdication of Mary, Queen of Scots by Joseph Severn

The Abdication of Mary, Queen of Scots

Joseph Severn·ca. 1850

Keats Listening to a Nightingale on Hampstead Heath by Joseph Severn

Keats Listening to a Nightingale on Hampstead Heath

Joseph Severn·1845

More from the Romanticism Period

The Fountain at Grottaferrata by Adrian Ludwig (Ludwig) Richter

The Fountain at Grottaferrata

Adrian Ludwig (Ludwig) Richter·1832

Dante's Bark by Eugène Delacroix

Dante's Bark

Eugène Delacroix·c. 1840–60

Shipwreck by Jean-Baptiste Isabey

Shipwreck

Jean-Baptiste Isabey·19th century

Portrait of Emmanuel Rio by Albert Schindler

Portrait of Emmanuel Rio

Albert Schindler·1836