The Lady of Shalott - John William Waterhouse
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Beschreibung
John William Waterhouse's 1888 masterpiece depicts the tragic figure of Elaine of Astolat from Tennyson's poem as she drifts towards Camelot.
John William Waterhouse completed this work in 1888, drawing direct inspiration from Alfred, Lord Tennyson's poem of the same name. The painting depicts the tragic figure of Elaine of Astolat as she drifts towards Camelot in a small boat. She has abandoned her loom and her mirror, choosing to face the reality of the outside world, an act that seals her fate.
Waterhouse captures the moment just before her death. The Lady sits amidst a collection of items: a crucifix, three flickering candles, and a heavy, embroidered textile draped over the side of the boat. Her expression is one of melancholic resignation. The artist uses a muted colour palette to convey the damp, autumnal atmosphere of the riverbank. The dark, dense foliage of the background contrasts with the pale, luminous fabric of her dress, drawing the viewer's eye to her central position.
This piece is characteristic of the late Pre-Raphaelite style, which favoured themes from Arthurian legend and classical mythology. Waterhouse demonstrates a precise attention to detail, particularly in the rendering of the fabric and the reflections on the water's surface. The composition is balanced, with the horizontal lines of the boat and the riverbank providing a stable frame for the figure. The work remains a primary example of Victorian narrative art, reflecting the period's fascination with romanticised medievalism and the tragic heroine archetype.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
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
The Lady of Shalott - 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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