(Othello and Desdemona by Daniel Maclise)

This image is a fine one! First off, I like the style and the colors are very fitting and vivid. Something that stands out in particular is Othello’s clothing. The robes are rich, elegant, and functional; we’d expect as much from a powerful military man, but the odd accessory out is the head wrap. It closely resembles a turban, and for this it must be examined. I’ve already established in previous image analyses the influence of Orientalism on artists, and in turn, art’s influence on the pervasiveness of Orientalism on the European public. This painting seems to be no exception, depicting Othello, who has canonically rejected his Muslim identity to his dying breath, in the dress of a typical Muslim Turk (presumably). Artistic license seems to beat out canon every time in these paintings, huh.

This scene seems to depict Act 3 Scene 3, after Iago’s first planted the seeds of suspicion in Othello’s mind, about Desdemona’s faithfulness, or lack thereof. The artist portrays this well in Othello’s facial expression, the seeds growing and rooting themselves into his core. Desdemona, with her strawberry handkershief, the token of her love and symbol of her devotion, is face-to-face with Othello. They are level for the first time in these image analyses.

The most interesting character here, though, is the person at the top right corner who I can only presume to be Emelia. She looks on at this scene, her line of sight is directed at Othello. She is behind a curtain, yet her hand is visible in the light, as it rests on the pillar. Her presence here, in the text, makes it seem like she should be at Desdemona’s side, and yet she is hidden from site. This reminds me of the way Othello hides as he sees Cassio talk about Bianca and sees the strawberry handkerchief. This seems as though it’s been an intentional composition on the artist’s part to depict the foreshadowing.