Sammlung
John William Waterhouse
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Höre auf mein liebes Pfeifen – John William WaterhousePrint · Framed
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Lady Violet Henderson - John William WaterhousePrint · Framed · Canvas
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Apollo und Daphne - John William WaterhousePrint · Framed · Canvas
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Miss Betty Pollock – John William WaterhousePrint · Framed · Canvas
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Circe Invidiosa - John William WaterhousePrint
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Schlaf und sein Halbbruder Tod – John William WaterhousePrint
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Der Verführer - John William WaterhousePrint
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Das Messbuch – John William WaterhousePrint
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Pflücke Rosen, eh du welkest - John William WaterhousePrint
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Mandelblüten sammeln - John William WaterhousePrint
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Undine – John William WaterhousePrint
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Ein Frühlingslied - John William WaterhousePrint
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Penelope und die Freier – John William WaterhousePrint
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Beatrice – John William WaterhousePrint · Framed
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Sweet Summer - John William WaterhousePrint · Framed
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Nach dem Tanz – John William WaterhousePrint · Framed
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Ophelia – John William WaterhousePrint · Framed
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Narziss – John William WaterhousePrint · Framed
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Die heilige Cäcilia – John William WaterhousePrint · Framed
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Tristan und Isolde – John William WaterhousePrint · Framed
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Diogenes - John William WaterhousePrint · Framed
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Die Hausgötter - John William WaterhousePrint · Framed
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Ein Blumenstand - John William WaterhousePrint · Framed
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La Belle Dame Sans Merci – John William WaterhousePrint · Framed
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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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