Apollo and Daphne - John William Waterhouse
Archival giclée
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Description
In John William Waterhouse's 'Apollo and Daphne', the artist captures the dramatic moment of Daphne's transformation into a laurel tree as she flees from Apollo. This oil painting exemplifies Waterhouse's Pre-Raphaelite style and his interest in classical mythology.
John William Waterhouse, a British painter known for his Pre-Raphaelite style, created 'Apollo and Daphne'. This oil on canvas depicts a scene from Greek mythology, specifically Ovid's 'Metamorphoses'. The painting captures the moment when the nymph Daphne, fleeing from the amorous god Apollo, is transformed into a laurel tree to escape his pursuit. The composition shows Apollo reaching out to Daphne, his hand almost touching her shoulder. Daphne, her expression a mix of fear and resignation, begins her transformation; her limbs are already taking on the texture and form of bark, and leaves sprout from her hair. Apollo is depicted as a muscular figure draped in a red cloth, carrying a lyre, symbolising his association with music and poetry. The background features a river, trees, and distant mountains, creating a classical setting for the mythological event. The colour palette is dominated by earthy tones, with touches of blue and red to draw attention to the figures.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Apollo and Daphne - John William Waterhouse
Our Features
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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
- Choose poster, framed print, canvas or framed canvas
- 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
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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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