When reading Homer’s epic works, those thrilling tales of sorrow and vengeance, the poet’s language is so vivid and sharp that images spring to our minds unheeded. Homer’s words paint such lively scenes that we are effortlessly drawn into his world, visualizing the drama and beauty of works such as The Odyssey or The Iliad. Over the centuries, many artists, both celebrated and less well-known, have attempted to bring Homer’s epic poetry to life on canvas.
In many cases, the results are astounding, especially when it comes to The Odyssey. Paintings that depict Odysseus’ ten-year struggle to return home after the Trojan War tend to be vibrant in color and playful in energy, yet carry an undertone of sorrow and longing. Below are some of the most iconic paintings that bring scenes from The Odyssey to life.
The most renowned paintings that bring scenes from The Odyssey to life
Ulysses and the Sirens, by John William Waterhouse (1891)
John William Waterhouse was an English painter particularly fascinated by the myths of ancient Greece. He worked in the rich pre-Raphaelite style. In his famous painting Ulysses and the Sirens, he brings to life the scene where Odysseus faces the enchanting Sirens. To avoid their deadly song, he tells his crew to block their ears with wax, while he, curious yet cautious, is bound to the mast of his ship, ears uncovered, to listen to their melody safely.
Waterhouse’s painting took a bold approach by portraying the Sirens not as ethereal, mermaid-like figures but as strange creatures with the heads of women and the bodies of birds, staying true to their description in The Odyssey. This choice makes his painting slightly surreal. His use of earthy yet vibrant tones makes the scene look as though it’s been plucked right out of ancient Greece—creating an atmosphere that transports us to that moment in mythology.
Ulysses Deriding Polyphemus, by Joseph Mallord William Turner (1829)
As its name tells us, J. M. W. Turner’s Ulysses Deriding Polyphemus focuses on that episode in The Odyssey involving the Cyclops Polyphemus. After carrying out a clever ruse to save himself and his men, Odysseus has blinded the Cyclops with a sharpened stake. Turner’s painting depicts the dramatic moment as Odysseus and his crew sail away from Polyphemus’ island. Odysseus, dressed in vibrant red and waving a flag, stands on his ship and mocks Polyphemus from a safe distance, all under Turner’s masterful play with light and color.
In the back, Polyphemus looms like a shadowy giant, wounded and enraged. At this very moment in The Odyssey, the Cyclops calls out to his father, Poseidon, seeking vengeance against Odysseus—or “No One,” as he believes, thanks to Odysseus’ cunning trick. Turner adds another subtle detail to the scene: the ancient Greek word for “No One” (Οὖτις – Outis) is inscribed on the orange flag flying from the ship’s mainmast, playing on the episode’s wit and irony.
Tiresias appears to Ulysses during the sacrifice, by Henry Fuseli (1780-1785)
Tiresias, the blind prophet, plays a crucial role in many moments of Greek mythology, and his appearance in The Odyssey works the same. Known for guiding heroes and kings when they are most in need of wisdom, Tiresias offers the same aid to Odysseus. After leaving Circe’s island, Odysseus is instructed by the sorceress to journey to Hades, the Underworld, to seek Tiresias’ counsel. To open the gates of Hades, Odysseus must make a sacrifice.
In Fuseli’s painting, the prophet Tiresias stands as an omniscient figure, delivering his prophecy to a humbled Odysseus, who kneels before him, holding the sacrifice that bleeds at his feet. At the heart of the composition is Tiresias himself, while behind him his vision takes shape through ghostly, white figures that symbolize his prophecy. Fuseli’s signature nightmarish style here merges with elements of classicism, creating an unsettling, eerie result.
Penelope and the Suitors, by John William Waterhouse (1912)
J.W. Waterhouse returned to The Odyssey for many of his paintings, including the scene where Penelope is besieged by suitors during Odysseus’ long absence. In this work, Waterhouse explores the theme of loyalty, placing Penelope at the center, seated at her loom, diligently weaving as if she were entirely alone. Dressed in a striking red, a color symbolizing courage and swiftness, Penelope’s focus and calmness contrast the chaos around her. The suitors, like unwelcome pests, hover around her, offering flowers or playing the lyre, fighting for her attention.
Yet, Penelope remains the undeniable center of Waterhouse’s painting. Even if the suitors were removed, leaving only her and her loom, the artwork would still stand as a masterpiece, its meaning unmistakable. She is the solitary, steadfast figure amidst a world of chaos and motion, radiating quiet strength. As she waits for Odysseus’ return, Waterhouse immortalizes her at the heart of his painting as a symbol of unwavering devotion.
Odysseus at the Court of Alcinous, by Francisco Hayez (1814-1816)
In Odysseus at the Court of Alcinous, the weary Odysseus, after years of wandering, is welcomed by King Alcinous of the Phaeacians. Odysseus is stood at the center covering his face and recounting his journey to the king and his court. He makes a humble figure, dressed in simple, muted robes, contrasting with the Phaeacians who surround him listening intently to his tale.
The painting has Odysseus as its main focus and creates an aura of weariness and humanity around him. In Hayez, Odysseus is not first and foremost the clever, mighty warrior but a man broken by years of hardship.
