
The Gates of Dawn, Wikimedia, Public Domain.
Herbert James Draper (1864–1920) was an English artist renowned for his works in the Pre-Raphaelite style, blending mythological themes with highly detailed, emotive depictions of the human figure. One of his most celebrated works, The Gates of Dawn (1900), exemplifies his characteristic luminous and ethereal quality.
This oil on canvas, measuring 198 x 101 cm, was exhibited at the Royal Academy of Arts in London in the same year it was completed. The painting reflects the optimism of the new century, symbolizing a «new dawn» with a modern woman as its central figure. The 20th century was to become the century of women, as they fought successfully for the right to education at school and university.
Draper was drawn to powerful female figures and frequently explored their mystique in his art, often referencing ancient mythology. The ancient Greeks, with their rich stories of goddesses and heroes, had created a visual language that had become ingrained in European culture. These myths were taught in secondary schools, so Draper could confidently assume that his educated audience would recognize the figure as the goddess Eos.
Homer famously referred to her as «rosy-fingered» (ῥοδοδάκτυλος, rhododactylos), and Ovid’s vivid imagery of Eos aligns closely with Draper’s painting: «Far in the crimsoning east, wakeful Dawn threw wide the shining doors of her rose-filled chamber.» This poetic description mirrors the light and atmosphere of the painting, reinforcing the theme of dawn as both a literal and metaphorical event.
Eos, or Aurora as the Romans called her, was the sister of the sun god Helios. In Homeric poems, she accompanied him throughout the day, never resting until sunset. Her mythological significance is also reflected in ancient vase paintings, where she is often depicted pursuing youthful lovers. One of the more famous stories tells how Eos, after abducting Tithonus, asked Zeus to grant him immortality, forgetting to request eternal youth. Consequently, Tithonus aged endlessly, shrinking into the form of a cicada, forever companion to the goddess.

Eos and Tuthnos, Wikimedia, Public Domain.
In Draper’s The Gates of Dawn, the ethereal light surrounding the figure emphasizes the transition from night to day, symbolizing a new beginning or spiritual enlightenment. The figure is bathed in warm, golden light that contrasts with the darker tones of the background, reinforcing the theme of dawn as a moment of hope and renewal. The use of the chiaroscuro technique, with its dramatic contrasts of light and shadow, not only adds depth but also underscores the emotional and symbolic significance of the scene. The soft, golden light enveloping the figure creates a dreamlike quality, enhancing the painting’s emotional impact while evoking themes of change and transformation.
The serene yet dramatic tone of the painting invites contemplation of both personal and universal transitions. The interplay of light and color evokes a sense of tranquility, while simultaneously conveying the grandeur of a mythological moment.
The model for The Gates of Dawn was Florence ‹Florrie› Bird, a popular London model at the turn of the 19th century, known for her versatility. Florrie also appeared in other works by Draper, such as his 1903 painting Prospero Summoning Nymphs and Deities, where she was depicted as a water nymph. She had also posed for The Lament for Icarus (1898), one of Draper’s earlier works. Draper frequently worked with professional models from London, including Ruth and May Torr, sisters from Clerkenwell, as well as Ellen Wellsted, who modeled for Draper’s depictions of classical goddesses like Juno and Demeter.

Study of Florence Bird for Prospero.

Study of Florence Bird for Prospero.
Draper often favored a particular type of model, typically selecting those with a slender build, defined cheekbones, and sharp features, in keeping with the tastes of the late Victorian era. His wife, too, served as a model for some of his female figures, including the goddess Amphitrite in his ceiling painting for the Royal Naval College in Greenwich. Draper also painted portraits of notable figures, such as Sir William Edmund Franklyn and actress June Tripp.
The painting The Gates of Dawn is currently housed in Draper’s Hall in London, specifically in the Drawing Room.
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