|John William Waterhouse, 1893|
|Arthur Hughes, 1863|
The story goes: knight meets mysterious lady in the forest; they make love (I'm reading slightly between the lines here but not much); he falls asleep and dreams that all her previous dead lovers have come - too late! - to warn him that he is DOOMED; he wakes and she is gone; he loiters at the spot until he dies, because he can't bear to ride away from the last place he saw her.
|Henry Meynell Rheam, 1901|
It appeals to art-viewers who get a kick from the idea of a irresistably seductive woman who enslaves poor helpless men, bringing the mighty and noble low. In modern terms, femdom.
|Robbert Anning Bell (1863-1933)|
Waterhouse's picture at top is, to my mind, the best, but this one is probably the most famous:
|Frank Dicksee, 1902|
Note the near-crucifixion posture.
|Walter Craine 1865|
For some artists it seems to have been a bit of an obsession:
|Another Robert Anning Bell, 1920|
|Another Henry Meynell Rheam, 1901 again.|
|John Melhuish Strudwick (1849-1937)|
In this, slightly later picture, the visual emphasis is less on the sleeping/stricken/dying knight in the foregound than on the lady's sumptuous dress.
|Frank Cadogan Cowper, 1926|