Ulysses and the Sirens - John William Waterhouse
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Beschreibung
A dramatic depiction of the Greek hero Ulysses bound to his ship's mast while encountering predatory, bird-like Sirens, painted by John William Waterhouse in 1891.
John William Waterhouse completed this work in 1891, drawing inspiration from Homer's Odyssey. The painting depicts the moment Ulysses, bound to the mast of his ship, encounters the Sirens. These creatures are rendered as bird-women, circling the vessel with aggressive intent. Their presence creates a sense of immediate danger, contrasting with the stoic posture of the hero.
Waterhouse employs a horizontal composition to convey the movement of the ship through the water. The sailors, their ears plugged with wax, continue to row, oblivious to the creatures surrounding them. The artist focuses on the tension between the human figures and the supernatural entities. The Sirens possess human heads and torsos attached to large, dark wings, a departure from the later artistic tradition of depicting them as alluring women. This choice reflects a specific interpretation of the classical text, prioritising the predatory nature of the mythic beings.
The colour palette is dominated by the deep blues of the sea and the muted tones of the rocky cliffs, which frame the scene. The ship itself features decorative elements, including an eye painted on the prow, a detail consistent with historical depictions of ancient Greek vessels. The lighting is diffuse, suggesting an overcast day, which adds to the sombre mood of the narrative. Waterhouse was known for his interest in classical themes and his ability to combine academic precision with the romantic sensibilities of his era. This piece remains one of his most recognised explorations of Greek mythology, demonstrating his technical skill in figure painting and his capacity for dramatic storytelling through visual media. The work is currently held in the collection of the National Gallery of Victoria in Melbourne.
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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
Ulysses and the Sirens - 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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