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Jezebel

9th century BCE, Phoenicia, modern-day Lebanon

Three thousand years after her death, we still know exactly what it means to call a woman a Jezebel: Promiscuous. Manipulative. Immoral. Dangerous.

The conjecture around her name became so great, that most of us never stopped to examine the truth.

That is the point.

She was a Phoenician princess who grew up in a goddess-based tradition where she was seen and valued by her community.  She was educated, autonomous, and likely trained in sacred sexual rituals. She came into her marriage wielding her own political power. 

  

She married a Hebrew King, making her a Queen who often ruled in tandem with her husband. 

He came from a culture firmly rooted in patriarchy, yet he allowed her to erect temples to her goddess, practice her sacred rituals, and share them with their people.  

The King’s inner circle disapproved of her political leadership and the new religious synthesis that was emerging. The King’s leaders could not allow a woman to have power, especially sexual power as it would challenge their control over women and their patriarchal social and religious structure.

So while the marriage led to a political, trading and military alliance, the religious and cultural chasm was too great.  Jezebel had to be discredited and dethroned.

But killing the queen isn't enough: her reputation had to die too.

The accounts that survive come through the religious and political tradition of her opponents.

Over centuries, the foreign queen becomes seductress, whore, manipulator and embodiment of female wickedness.

It’s one of history's most successful smear campaigns.

In this Garden of Even™ portrait, Jezebel stands between worlds: carrying the symbols of the Phoenician culture she came from while confronting the political and religious order of the kingdom she married into.

She stands at the fault line between cultures, religions and competing claims to power while holding her own as a Queen.

EXPLORE THE WORK

A surreal collage-style artwork featuring a central woman in a purple and yellow gown with a gold crescent moon headdress, surrounded by flowers, statues, a tree, and other figures in an ornate architectural scene.

Face

The biblical text perpetuating Jezebel’s image as a wicked women specifically says Jezebel “painted her eyes and arranged her hair” before appearing at the window to face her opponents. That detail has often been interpreted through sexuality or vanity. We wanted to reconsider adornment as power and self-possession: she deliberately presents herself as a queen rather than allowing her enemies to determine how she meets her death.

Stone Goddess

The female stone figure references the goddess traditions of the ancient Levant and the religious culture from which Jezebel came. Jezebel was raised in a Phoenician world in which female divinity had a place. She then entered a society increasingly organized around the worship of a male God and a religious tradition that would ultimately condemn the gods and goddesses associated with her homeland. Placed beside Jezebel, the goddess represents a worldview that was being displaced—and invites us to reconsider Jezebel not simply as a wicked queen, but as a woman caught at the centre of a profound cultural and religious struggle.

Purple Robe

Jezebel's purple robes are a symbol of both her royal status and her Phoenician heritage. The coastal cities of Tyre and Sidon were famous throughout the ancient Mediterranean for producing a precious purple dye from murex sea snails. Thousands of shells could be required to produce even a small amount, making purple-dyed cloth extraordinarily valuable and closely associated with wealth, status and power. In this portrait, Jezebel wears the colour of the world she came from—and of the authority she carried into the world she entered. The purple reminds us: before Jezebel became an insult, she was a queen.

RECONSIDER

What if Jezebel's enduring legacy had been that of a powerful female leader rather than a wicked woman?

For three thousand years, her name has taught us something about women and power.

A woman can be politically influential, autonomous and unwilling to surrender her beliefs—but once her sexuality, morality or character becomes the story, her power becomes easier to dismiss.

Discredit the woman and you discredit her authority.

Garden of Even™ asks us to imagine what we might have inherited instead if women like Jezebel had been remembered not primarily through the morality assigned to them, but through their political authority, influence and capacity to lead.

How differently might we understand women and power today?

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