Collection
John William Waterhouse
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Jason and Medea - John William WaterhousePrint · Framed
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The Remorse of Nero After the Murder of His Mother - John William WaterhousePrint · Framed
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The Soul of the Rose - John William WaterhousePrint · Framed
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A Mermaid - John William WaterhousePrint · Framed
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The Naiad - John William WaterhousePrint · Framed
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Mariamne Leaving the Judgement Seat of Herod - John William WaterhousePrint · Framed
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The Magic Circle - John William WaterhousePrint · Framed
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Spring Spreads One Green Lap of Flowers - John William WaterhousePrint · Framed
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The Rose Bower - John William WaterhousePrint
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Esther Kenworthy - John William WaterhousePrint
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The Easy Chair - John William WaterhousePrint
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Portrait of Miss Claire Kenworthy - John William WaterhousePrint
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St. Joan - John William WaterhousePrint
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Two Little Italian Girls by a Village - John William WaterhousePrint
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Consulting the Oracle - John William WaterhousePrint
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Flora - John William WaterhousePrint
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The Annunciation - John William WaterhousePrint
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Woman Picking Flowers - John William WaterhousePrint
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The Shrine - John William WaterhousePrint
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In the Peristyle - John William WaterhousePrint
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Psyche Opening the Golden Box - John William WaterhousePrint
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I am Half-Sick of Shadows, said the Lady of Shalott - John William WaterhousePrint
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The Flower Picker - John William WaterhousePrint
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Saint Eulalia - John William WaterhousePrint
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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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