Metropolitan Museum: part 1 – Paulus Bor - The Disillusioned Medea (The Enchantress)
Paulus Bor: Dutch, Amersfoort ca. 1601–1669 Amersfoort ca. 1640; Oil on canvas; 61 1/4 x 44 1/4 in. (155.6 x 112.4 cm)
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The woman’s head rests heavily on her hand, a gesture indicative of weariness or despair. Her gaze is directed downwards, avoiding direct contact with the viewer, reinforcing a sense of inward reflection and emotional withdrawal. The elaborate costume she wears – a rich combination of blue, gold, and white fabrics – suggests a position of status or power, yet this grandeur seems at odds with her evident distress. A decorative brush lies loosely in her hand, perhaps hinting at creative endeavors now abandoned or tainted by disappointment.
Flanking the woman are two sculpted figures: an angel on the left and a classical urn on the right. The angel appears to be draped in garlands of flowers, its expression ambiguous – perhaps sorrowful, perhaps resigned. Its presence introduces a layer of spiritual contemplation, suggesting that the woman’s disillusionment may extend beyond earthly concerns. The urn, adorned with relief carvings depicting mythological scenes, further anchors the work within a classical tradition and alludes to themes of loss, memory, and the passage of time.
The dark background is not merely an absence of detail; it functions as a visual void that amplifies the woman’s solitude. It also creates a sense of depth, pushing her forward into the viewers space. The overall effect is one of quiet drama – a portrayal of a figure grappling with profound disappointment and loss, surrounded by symbols of beauty and tradition that offer little solace. There is an underlying tension between outward appearance and inner turmoil, suggesting a narrative of shattered expectations or a crisis of identity.