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Cymbeline. Act 2 Scene 2. A Bedchamber. Imogen in Bed. Jachimo, 1795. Artist: James Stow

Cymbeline. Act 2 Scene 2. A Bedchamber. Imogen in Bed. Jachimo, 1795. Artist: James Stow


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Cymbeline. Act 2 Scene 2. A Bedchamber. Imogen in Bed. Jachimo, 1795. Artist: James Stow

Cymbeline. Act 2 Scene 2. A Bedchamber. Imogen in Bed. Jachimo, 1795. After Richard Westall (1765-1836). From Shakespeare Gallery, Pall Mall, 1795, by John Boydell. [J. & J. Boydell, London, 1795]

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Media ID 14971651

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Asleep Bed Chamber Bedchamber Bedroom Boydell Cymbeline Imogen James Stow John Boydell Richard Richard Westall Shakespeare Shakespearean Shakespearian Sleep Sleeping Stow Voyeur Voyeurism Waiting Westall William Shakespeare Iachimo


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EDITORS COMMENTS
This print, titled "Cymbeline. Act 2 Scene 2. A Bedchamber. Imogen in Bed. Jachimo, 1795" transports us to a dramatic moment in Shakespeare's timeless play. Created by the talented artist James Stow, this engraving beautifully captures the intensity of the scene. In this intimate setting, we find ourselves inside a bedchamber where Imogen lies peacefully asleep on a grand bed adorned with luxurious drapes. The room is dimly lit, creating an atmosphere of mystery and anticipation as nightfall blankets everything around her. Jachimo stands silently beside the bed, his gaze fixed upon Imogen as he watches her slumber. His presence adds an element of voyeurism to the image, hinting at hidden intentions and secret desires that will unfold throughout the play. The monochrome palette chosen by Stow enhances the emotional depth of this moment while paying homage to the aesthetics of eighteenth-century artistry. Every detail is meticulously engraved, from Imogen's delicate features to Jachimo's contemplative expression. This print not only serves as a visual representation of Shakespearean drama but also invites us to ponder themes such as trust, deception, and vulnerability within human relationships. It reminds us that even in our most private moments, there may be unseen eyes observing our every move. As we delve into this remarkable piece from John Boydell's Shakespeare Gallery collection dating back to 1795, we are reminded once again why

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