Collection
John William Waterhouse
Explore curated art prints selected for distinctive homes and considered interiors.
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Esther Kenworthy - John William Waterhouse
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The Easy Chair - John William Waterhouse
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Portrait of Miss Claire Kenworthy - John William Waterhouse
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St. Joan - John William Waterhouse
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Two Little Italian Girls by a Village - John William Waterhouse
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Consulting the Oracle - John William Waterhouse
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Flora - John William Waterhouse
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The Annunciation - John William Waterhouse
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Woman Picking Flowers - John William Waterhouse
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The Shrine - John William Waterhouse
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In the Peristyle - John William Waterhouse
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Psyche Opening the Golden Box - John William Waterhouse
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I am Half-Sick of Shadows, said the Lady of Shalott - John William Waterhouse
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The Flower Picker - John William Waterhouse
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Saint Eulalia - John William Waterhouse
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The Visit of a Sick Child to the Temple of Aesculapius - John William Waterhouse
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Ulysses and the Sirens - John William Waterhouse
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Portrait of Mrs. Charles Schreiber - John William Waterhouse
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Windflowers - John William Waterhouse
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Mariana in the South - John William Waterhouse
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Lamia - John William Waterhouse
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Miranda - John William Waterhouse
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Hylas and the Nymphs - John William Waterhouse
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It's Sweet Doing Nothing - John William Waterhouse
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Artist Biography
John William Waterhouse
Waterhouse painted women from myths who were about to drown, be cursed, or meet something terrible. The Lady of Shalott drifting downstream to her death. Hylas being pulled into a pool by nymphs. Circe offering poison. Ophelia. Echo and Narcissus. The women are always beautiful. The water is always involved. The moment is always the one just before everything goes wrong.
He was born in Rome to English parents (both painters) and grew up surrounded by Italian art before moving to London as a child. He studied at the Royal Academy Schools and exhibited there from 1874 until his death in 1917. He was a Royal Academician, successful, respected, and thoroughly Victorian.
His technique is Pre-Raphaelite in spirit but Impressionist in handling. The early works are tighter, more archaeological, influenced by Alma-Tadema's classical scenes. The later paintings are looser, with broader brushwork and richer colour. The Lady of Shalott (1888) combines both: precise detail in the boat and tapestry, atmospheric softness in the trees and water.
He painted several versions of the same subjects. Two versions of The Lady of Shalott. Two of Ophelia. Multiple paintings of Circe. He returned to the same stories because the stories gave him what he needed: a beautiful woman in a dramatic landscape at a moment of transformation. The formula was reliable and the execution was consistently good.
He is sometimes grouped with the Pre-Raphaelites but was a generation younger than Rossetti, Millais, and Hunt. He was closer to the Aesthetic Movement and to late Victorian narrative painting. He is one of the most reproduced painters in the history of art prints, which would have pleased him.
He was born in Rome to English parents (both painters) and grew up surrounded by Italian art before moving to London as a child. He studied at the Royal Academy Schools and exhibited there from 1874 until his death in 1917. He was a Royal Academician, successful, respected, and thoroughly Victorian.
His technique is Pre-Raphaelite in spirit but Impressionist in handling. The early works are tighter, more archaeological, influenced by Alma-Tadema's classical scenes. The later paintings are looser, with broader brushwork and richer colour. The Lady of Shalott (1888) combines both: precise detail in the boat and tapestry, atmospheric softness in the trees and water.
He painted several versions of the same subjects. Two versions of The Lady of Shalott. Two of Ophelia. Multiple paintings of Circe. He returned to the same stories because the stories gave him what he needed: a beautiful woman in a dramatic landscape at a moment of transformation. The formula was reliable and the execution was consistently good.
He is sometimes grouped with the Pre-Raphaelites but was a generation younger than Rossetti, Millais, and Hunt. He was closer to the Aesthetic Movement and to late Victorian narrative painting. He is one of the most reproduced painters in the history of art prints, which would have pleased him.
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