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Summary
Following en:Richard Wagner's romantic reinterpretation of the old myths, Hughes depicts the dreadful Norse war goddess in an ethereal fairy painting: barefoot, clad in a sheer off-the-shoulder gown, and softly lit from above. Her martial aspects are de-emphasized: she tucks her helmet into the crook of her arm and holds her sword by the ricasso (the blunt section just beyond the crossguard). Of the chooser of the warrior slain in battle, of the scavenging wolf and raven, there is no trace.
English painter Robert Edward Hughes is considered a Pre-Raphaelite although he had a flair for symbolism. Meticulous in detail, his watercolor landscapes displayed Pre-Raphaelite techniques that showcased literary themes including nude female subjects with long tresses, a trait which leaned towards symbolism. Always meticulous in his portrayal of nudes, Hughes became somewhat of an expert and achieved international recognition at the Venice Biennale (1895) for ‘Biancabella and Samaritana’. One of his most famous nudes is titled ‘Weary Moon’ (c1900)
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