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John William Waterhouse

The Mystic Wood


The Annunciation

Dante and Beatrice

Woman Picking Flowers


The Slave


Gone, But Not Forgotten

Sleep and His Half Brother Death


After the Dance

The Visit of a Sick Child to the Temple of Aesculapius

The Remorse of Nero After the Murder of His Mother

Its sweet doing nothing

A Flower Stall

Its sweet doing nothing

The Household Gods


The favourites of Emperor Honorius

Consulting the Oracle

Esther Kenworthy

Saint Eulalia


The Magic Circle


Mariamne Leaving the Judgement Seat of Herod

The Lady of Shalott


The Toilet

Two Little Italian Girls by a Village

A Roman Offering

Circe Offering the Cup to Ulysses

Ulysses and the Sirens

Circe Invidiosa

Sketch for A Mermaid

The Merman

A Hamadryad

The Beautiful Lady Without Pity

The Naiad

The Lady of Shalott


Phyllis Waterlow

Saint Cecilia

The Flower Picker

Hylas and the Nymphs

Mariana in the South


Flora and the Zephyrs


The Awakening of Adonis

A Mermaid


Nymphs Finding the Head of Orpheus

The Crystal Ball

The Missal



Echo and Narcissus

Psyche entering Cupid's Garden

Psyche Opening the Golden Box

Lamia and the Soldier

Jason and Medea

Lady Violet Henderson

Apollo and Daphne

Gather Ye Rosebuds or Ophelia

The Bouquet

The Soul of the Rose

Gather Ye Rosebuds While Ye May



Spring Spreads One Green Lap of Flowers

Listen to my Sweet Pipings

Maidens picking Flowers by a Stream

Miss Betty Pollock

The Charmer

Penelope and the Suitors

Portrait of Mrs.Charles Schreiber

Sweet Summer

A Song of Springtime


I am Half Sick of Shadows', said the Lady of Shalott

A Tale from the Decameron

Fair Rosamund

Flower Sketch for The Enchanted Garden


Gathering Almond Blossoms


Tristan and Isolde

The Enchanted Garden


Portrait of Miss Claire Kenworthy


The Easy Chair

The Loggia



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John William Waterhouse - Echo and Narcissus by John William Waterhouse

Echo and Narcissus

John William Waterhouse

Diogenes - Diogenes by John William Waterhouse


John William Waterhouse

John William Waterhouse (born between January and April 1849; died 10 February 1917) was an English painter known for working in the Pre-Raphaelite style. He worked several decades after the breakup of the Pre-Raphaelite Brotherhood, which had seen its heyday in the mid-nineteenth century, leading to his sobriquet "the modern Pre-Raphaelite".[1] Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists,[1] his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.

Born in Italy to English parents who were both painters, he later moved to London, where he enrolled in the Royal Academy of Art. He soon began exhibiting at their annual summer exhibitions, focusing on the creation of large canvas works depicting scenes from the daily life and mythology of ancient Greece. Later on in his career he came to embrace the Pre-Raphaelite style of painting despite the fact that it had gone out of fashion in the British art scene several decades before.

Although not as well known as earlier Pre-Raphaelite artists such as Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt, Waterhouse's work is currently displayed at several major British art galleries, and the Royal Academy of Art organised a major retrospective of his work in 2009.

Early life

Waterhouse was born in the city of Rome to the English painters William and Isabella Waterhouse in 1849, in the same year that the members of the Pre-Raphaelite Brotherhood, including Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt, were first causing a stir in the London art scene.[2] The exact date of his birth is unknown, though he was baptised on 6 April, and the later scholar of Waterhouse's work, Peter Trippi, believed that he was born between 1 and 23 January.[3] His early life in Italy has been cited as one of the reasons why many of his later paintings were set in ancient Rome or based upon scenes taken from Roman mythology.

In 1854, the Waterhouses returned to England and moved to a newly built house in South Kensington, London, which was near to the newly founded Victoria and Albert Museum. Waterhouse, or 'Nino' as he was nicknamed, coming from an artistic family, was encouraged to get involved in drawing, and often sketched artworks that he found in the British Museum and the National Gallery.[4] In 1871 he entered the Royal Academy of Art school, initially to study sculpture, before moving on to painting.
Early career

Waterhouse's early works were not Pre-Raphaelite in nature, but were of classical themes in the spirit of Alma-Tadema and Frederic Leighton. These early works were exhibited at the Dudley Gallery, and the Society of British Artists, and in 1874 his painting Sleep and his Half-brother Death was exhibited at the Royal Academy summer exhibition.[5] The painting was a success and Waterhouse would exhibit at the annual exhibition every year until 1916, with the exception of 1890 and 1915. He then went from strength to strength in the London art scene, with his 1876 piece After the Dance being given the prime position in that year's summer exhibition. Perhaps due to his success, his paintings typically became larger and larger in size.[5]
Later career

In 1883 he married Esther Kenworthy, the daughter of an art schoolmaster from Ealing who had exhibited her own flower-paintings at the Royal Academy and elsewhere. They had two children, but both died in early childhood. In 1895 Waterhouse was elected to the status of full Academician. He taught at the St. John's Wood Art School, joined the St John's Wood Arts Club, and served on the Royal Academy Council.

One of Waterhouse's most famous paintings is The Lady of Shalott, a study of Elaine of Astolat, who dies of grief when Lancelot will not love her. He actually painted three different versions of this character, in 1888, 1894, and 1916. Another of Waterhouse's favorite subjects was Ophelia; the most famous of his paintings of Ophelia depicts her just before her death, putting flowers in her hair as she sits on a tree branch leaning over a lake. Like The Lady of Shalott and other Waterhouse paintings, it deals with a woman dying in or near water. He also may have been inspired by paintings of Ophelia by Dante Gabriel Rossetti and John Everett Millais. He submitted his Ophelia painting of 1888 in order to receive his diploma from the Royal Academy. (He had originally wanted to submit a painting titled "A Mermaid", but it was not completed in time.) After this, the painting was lost until the 20th century, and is now displayed in the collection of Lord Lloyd-Webber. Waterhouse would paint Ophelia again in 1894 and 1909 or 1910, and planned another painting in the series, called "Ophelia in the Churchyard".

Waterhouse could not finish the series of Ophelia paintings because he was gravely ill with cancer by 1915. He died two years later, and his grave can be found at Kensal Green Cemetery in London.[6]

In total he produced 118 paintings.


Trippi, Peter; Prettejohn, Elizabeth; Upstone, Robert. J.M. Waterhouse: The Modern Pre-Raphaelite Gallery Guide. The Royal Academy of Art. 2009.
Trippi, Peter. J.M. Waterhouse. Page 4. Phaidon. 2002.
Trippi, Peter. J.M. Waterhouse. Page 9. Phaidon. 2002.
Trippi, Peter. J.M. Waterhouse. Page 14. Phaidon. 2002.
Trippi, Peter; Prettejohn, Elizabeth; Upstone, Robert. J.M. Waterhouse: The Modern Pre-Raphaelite Gallery Guide. The Royal Academy of Art. 2009.

John William Waterhouse at Find a Grave

Benezit, E. (2006). Waterhouse, John William. In Dictionary of Artists (Vol 14, pp 668–669). Paris: Grund.
Trippi, P. (2002). J.W.Waterhouse. New York, NY: Phaidon Press Limited.

Further reading

Moyle, Franny (13 June 2009), "Pre-Raphaelite art: the paintings that obsessed the Victorians [print version: Sex and death: The paintings that obsessed the Victorians]", The Daily Telegraph (Review): R2–R3.
Simpson, Eileen (17 June 2009), "Pre-Raphaelites for a new generation: Letters, 17 June: Pre-Raphaelite revival", The Daily Telegraph.
Dorment, Richard (29 June 2009), "Waterhouse: The modern Pre-Raphaelite, at the Royal Academy – review", The Daily Telegraph.

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