By Garrett P.
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Extra resources for Compact Operators on Hilbert Space (2005)(en)(7s)
Siddall’s ‘Lady’ sits working at her loom, and is caught at the moment when she looks out the window at the outside world and her weaving flies wildly apart. Siddall’s figure is drawn in a plain, flowing gown, and sitting in an equally simple room. Deborah Cherry notes this austerity and spaciousness in contrast to many other interpretations of this scene in which the woman and her surroundings are painted sumptuously (Cherry 190). This is a definite workspace for this female artist, not a richly decorated retreat where some weaving gets done.
In other words, the events in Prayer and Despair are occurring simultaneously, the fates of the mother and her three children linked under a common domed sky and moon. The murky light of an industrial night sky is the only illumination. The curve of the tunnel and the square of the window emblemize a restricted vision of their futures, which now all of the females must share. There is no connection with the viewer as all the women look away or into their pain. Cast out of domestic security, these women seem to have no hope, either for survival or redemption.
She holds her sacred prayer book open to an image of the crucifixion, but her expression mingles faithful reflection and troubled introspection. This placement of the female figure in a walled garden relates back to the medieval tradition of the hortus conclusus, a tradition that the Victorians adopted as a space to enclose their 11 females. The medieval walled garden was regarded “as an attribute of feminine purity, a sacred space where the modern madonna inhabited an insular sanctuary of artificially preserved maidenhood” (Casteras, Images 87).
Compact Operators on Hilbert Space (2005)(en)(7s) by Garrett P.