Elena Rossi
The 1962 film adaptation of Vladimir Nabokov's novel Lolita, directed by Stanley Kubrick, features a painting that appears in the film's opening and closing scenes. In the opening scene, Humbert kills Quilty by shooting through a painting of a young girl, which may be a metaphorical substitute for Lolita. The painting is analysed in an article titled 'Portrait of Lolita' which suggests that the painting serves as a proxy for Lolita and the harm Humbert has done to her. The painting also appears in the classroom of Lolita's school, and the novel includes references to other paintings, such as Botticelli's depiction of Venus.
| Characteristics | Values |
|---|---|
| Painter | George Romney |
| Painting | A portrait of Frances Puleston, the first wife of Bryan Cooke |
| Subject | The painting is a proxy for Lolita |
| Interpretation | The painting represents Lolita, who is a liar |
| Interpretation | The bullets piercing the lady's body in the painting are a metaphor for the violation of Lolita's young life through violent sexual penetration |
| Interpretation | The painting directs our attention towards the triangular relationship between Lolita, Quilty, and Humbert |
| Interpretation | The painting shows the intimate connection between Quilty and Lolita |
| Interpretation | The shadow of the banister, which projects bars onto the painting, is a visual metaphor of Lolita's confinement |
| Interpretation | The lady in the painting is a metaphorical substitute for Lolita |
| Interpretation | The lady in the painting appears to be a decorative element within her surroundings, on par with the flowers that Charlotte proudly exhibits |
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What You'll Learn
The painting is a proxy for Lolita
The 1962 film adaptation of Vladimir Nabokov's novel *Lolita* by Stanley Kubrick features a painting that appears at the beginning and end of the film. The painting in question is a portrait of a young woman, dressed in a broad hat, lying in a recumbent pose, and gazing at the man who is painting her. This painting is a proxy for Lolita herself, and the bullets that pierce the painting may be seen as metaphorically killing her.
The painting is first seen in the possession of Clare Quilty, who is shot through the painting by Humbert Humbert. The painting is shown again at the end of the film, with Humbert covering the chair that Quilty was supposed to be sitting in, subliminally suggesting that Humbert did not find him. The epilogue, which reveals Humbert's death during the trial of his murder of Quilty, is read over the shot painting, indicating that Humbert is lying about killing Quilty.
The painting serves as a metaphor for the triangular relationship between Lolita, Quilty, and Humbert. Quilty's moan of pain when the first bullet hits the girl's dress suggests an intimate connection between Quilty and Lolita. The shadow of the banister, which projects bars onto the painting, is a visual metaphor for Lolita's confinement within the relationship.
The painting also reflects the violation of Lolita's young life through violent sexual penetration, with the gun serving as a phallic symbol. Furthermore, the painting highlights the objectification of Lolita, as she is presented as an iconic figure and an artefact, even before her appearance in the film. The shooting of the painting may also induce false assumptions, such as the idea that Humbert will kill Lolita, similar to Don José in the Carmen intertext.
In addition to the painting, the film also makes references to other artworks. Humbert compares Lolita's appearance to "Botticelli's russet Venus—the same soft nose, the same blurred beauty," possibly referring to Botticelli's *The Birth of Venus* or *Venus and Mars*. The play *The Hunted Enchanter*, staged at Lolita's school, contains a scene that duplicates a painting in the lobby of the hotel where Humbert begins a sexual relationship with Lolita. These artistic references contribute to the film's exploration of the complex dynamics between its characters.
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The painting is a metaphor for the violation of Lolita
The 1962 film Lolita, directed by Stanley Kubrick, features a painting that serves as a metaphor for the violation of Lolita. The painting in question is a George Romney painting of Frances Puleston, the first wife of Bryan Cooke. In the film, Humbert shoots through the painting, which is a proxy for Lolita, representing the harm he has inflicted on her.
The painting is first seen in the opening scene, where Humbert dreams of killing Quilty. The painting is then shown again at the end of the film when Humbert actually confronts Quilty. The difference in the timing of the shots and the editing of the ending frame suggest that Humbert does not find Quilty, and the epilogue implies that Humbert dies during the trial for Quilty's murder.
The shooting of the painting symbolises the violation of Lolita's young life through violent sexual penetration. The bullets piercing the young lady's body in the painting reflect the harm done to Lolita, with the gun serving as a phallic symbol. The painting also draws attention to the triangular relationship between Lolita, Quilty, and Humbert, with Quilty's intimate connection to Lolita suggested by his pained reaction when the bullet hits the girl's dress in the painting.
Furthermore, the painting can be seen as a metaphorical substitute for Lolita herself. The young lady in the painting lies in a recumbent position, gazing motionlessly at the artist, similar to how Lolita is objectified and treated as a decorative element within her surroundings. The lilting quality of the word "Lolita" and its connection to the word "lilies" further emphasises the parallel between Lolita and the flowers that Charlotte exhibits.
The painting also has broader implications for the narrative. By presenting Lolita as a work of art, the painting underscores her immortalisation in the eyes of those who loved her and sought to possess her image. Additionally, the shooting of the painting may induce false assumptions and interpretations, mirroring the suspenseful and misleading nature of the narrative.
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The painting is a substitute for the eponymous nymphet
The painting at the end of Lolita is a substitute for the eponymous nymphet. This is evident in the way the painting is used throughout the film to represent Lolita and her absence.
Firstly, the painting is a substitute for Lolita in a metaphorical sense. The painting depicts a young girl in a hat, reminiscent of Lolita's iconic heart-shaped sunglasses, and in a typical pictorial position of a recumbent nymph, almost nude. Like the painting, Lolita is presented as a decorative element within her surroundings, on par with the flowers—lilies—which her mother, Charlotte, proudly exhibits. The parallel between Lolita and these flowers is further established through the phonemes that compose the word "lilies", which has a lilting quality that Nabokov appreciated in the word "Lolita".
Secondly, the painting serves as a physical stand-in for Lolita, particularly in the beginning and ending scenes where Humbert enters Quilty's house. The painting is shot through with bullets, suggesting that Humbert's actions are a metaphorical killing of Lolita. This interpretation is supported by the fact that there is no mention of Lolita's death in the text of the epilogue. Additionally, the shooting of the painting may induce false assumptions about Humbert's relationship with Lolita, similar to how the Carmen intertext in the novel misleads the reader into thinking Humbert will be Lolita's Don José and kill her.
Furthermore, the painting also symbolizes the triangular relationship between Lolita, Quilty, and Humbert. When the first bullet hits the girl's dress in the painting, it is Quilty who moans with pain, suggesting an intimate connection between Quilty and Lolita. The shadow of the banister, which projects bars onto the painting, is a visual metaphor for Lolita's confinement within this relationship.
Finally, the painting at the end of the film is also a substitute for Lolita in terms of the audience's perception. By including the painting in both the beginning and ending scenes, Kubrick creates a sense of continuity and suggests that Humbert's dream of killing Quilty at the start has not come true. The audience is left with the understanding that Humbert did not find Quilty and is without Lolita, creating a sense of loss and emphasizing the impact of her absence.
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The painting is a Freudian symbol
The painting at the end of Lolita is a Freudian symbol. This is evident in several ways. Firstly, the act of shooting the painting symbolises the violation of Lolita's young life through violent sexual penetration, with the gun serving as a Freudian symbol of the Ur-father's central forelimb, as endorsed by Humbert himself. The painting also represents the triangular relationship between Lolita, Quilty, and Humbert, with Quilty's intimate connection to Lolita suggested by his pained reaction when the bullet hits the girl's dress in the painting.
Furthermore, the painting serves as a proxy for Lolita, with each person who loved her having their own painting of her, signifying their personal image of Lolita, which they feel the need to possess and own. This interpretation is supported by the fact that the painting is shown in both the beginning and ending scenes, implying that Humbert is lying about killing Quilty, as he did not find him. The painting also draws parallels between Lolita and the lilies that Charlotte exhibits, with both being presented as decorative elements within their surroundings, and the lyrical lilt of the word "lilies" echoing the name "Lolita".
The painting may also induce false assumptions, such as the idea that Humbert will be Lolita's Don José and kill her, mirroring the Carmen intertext in the novel. However, the narrow focus on the painting opens up new interpretations, such as the suggestion that Lolita, despite being metaphorically killed, remains immortal as a work of art. The painting, therefore, serves as a complex Freudian symbol, reflecting the characters' relationships, motivations, and the underlying themes of the story.
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The painting is a work of art, immortalising Lolita
The painting at the end of Lolita is a metaphorical substitute for the eponymous character. The painting, which is shot through by Humbert, is a stand-in for Lolita, who is absent from the scene. The bullets piercing the young lady's body in the painting symbolise the violation of her young life through violent sexual penetration. This interpretation is supported by Humbert's comparison of the gun to a phallus in the novel.
The painting also draws attention to the triangular relationship between Lolita, Quilty, and Humbert. When the first bullet hits the girl's dress, it is Quilty who moans in pain, suggesting his intimate connection with Lolita. Additionally, the shadow of the banister in the painting creates a visual metaphor of Lolita's confinement, reflecting her entrapment in the relationship.
The presence of the painting at the beginning and end of the film adds another layer of interpretation. The painting may represent the different perceptions and personal images that each person who loved Lolita had of her, signifying their desire to possess and own that image. This interpretation aligns with the way Lolita is presented as an iconic figure and an artefact, even before her appearance in the film.
The act of shooting the painting can be seen as a symbolic killing of Lolita, yet as a work of art, she remains immortal. This interpretation is strengthened by the absence of any mention of Lolita's death in the epilogue. Thus, the painting serves as a powerful reminder of Lolita's presence and the impact she had on those around her.
In conclusion, the painting at the end of Lolita is a powerful work of art that immortalises Lolita and the complex dynamics surrounding her. It invites multiple interpretations and adds depth to the film's exploration of the characters and their relationships.
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Frequently asked questions
The painting at the end of Lolita is a metaphorical substitute for the eponymous nymphet. The clothing is different, but the lady in the painting wears a hat that is reminiscent of the hat Lolita wears. The young girl in the painting lies in a typically pictorial position, that of the recumbent nymph, almost a nude, gazing motionlessly at the man who is fated to depict her.
The painting is a George Romney painting of Frances Puleston, the first wife of Bryan Cooke. It serves as a proxy for Lolita, the grotesque harm Humbert has done to her. Humbert shoots through the painting at Quilty, who takes refuge behind it.
The shooting of the painting is in keeping with Humbert's comparison of the gun to a phallus: "We must remember that a pistol is the Freudian symbol of the Ur-father's central forelimb" (Nabokov, 1955). The painting also directs our attention towards the triangular relationship between Lolita, Quilty, and Humbert.
The painting at the beginning and end of the film is the same, and it is likely that Kubrick used this as a way to show the difference between dream and reality. The beginning scene of Humbert killing Quilty is a future dream of Humbert's, and the ending scene is the reality.
