Psyche Opening the Golden Box - John William Waterhouse
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Beschreibung
A 1903 mythological painting by John William Waterhouse, depicting the moment Psyche opens the golden box in a quiet, shadowed woodland setting.
John William Waterhouse, a painter associated with the later phase of the Pre-Raphaelite movement, produced this work in 1903. The subject is drawn from the myth of Cupid and Psyche, specifically the moment when Psyche, having been sent to the underworld by Venus to retrieve a box of beauty, succumbs to curiosity and opens the vessel.
Waterhouse depicts Psyche seated upon a rocky outcrop, her form draped in a soft, rose-coloured garment that contrasts with the muted, earthy tones of the surrounding woodland. The composition focuses on the intimate interaction between the figure and the small, ornate box held in her hands. Her posture is one of quiet absorption, with her head bowed and her gaze fixed upon the contents of the container.
Technically, the painting demonstrates the artist's preference for soft, atmospheric lighting and a controlled palette. The background is rendered with loose, painterly strokes, suggesting a dense, shadowed forest that isolates the figure from the external world. Small, delicate flowers are scattered at the base of the rock, providing a subtle detail that anchors the figure within the natural setting. Waterhouse often explored themes of female isolation and mythological narrative, and this piece is characteristic of his approach to classical subjects. The work avoids dramatic action, choosing instead to capture a moment of psychological stillness. The soft edges and the gentle modelling of the figure reflect the artist's academic training, combined with the romantic sensibilities typical of his later career. This print captures the tonal nuances of the original oil painting, preserving the atmospheric quality of the forest setting and the delicate rendering of the drapery.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Psyche Opening the Golden Box - John William Waterhouse
Artist Biography
John William Waterhouse
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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