Abstract

Representations of rape and sexual violence abound in Victorian painting, but art historical analysis of this phenomenon has been scarce. This article uses Arthur Hacker’s 1892 painting Syrinx to examine late nineteenth-century approaches and responses to visually representing rape. How did the representation of rape relate to the newly respectable aesthetic category of the artistic nude? Syrinx depicts a standing unclothed young woman attempting to cover her body with reeds, subject matter derived from Book I of Ovid’s Metamorphoses. The painting has been on public display in Manchester Art Gallery since 1893. This article examines how a rape narrative from antiquity was remade as part of the public culture of Victorian Britain, examining the aesthetic, material, literary, legal, medical and museum contexts in which its meanings were produced. It also considers how the representation of rape in this Victorian painting continues to be rethought in Manchester Art Gallery today.