JWW1
Ink on paper
27.5 x 31 cm
10 7/8 x 12 1/4 in
10 7/8 x 12 1/4 in
Dubbed the ‘Modern Pre-Raphaelite’, John William Waterhouse (1849-1917) was a magnet for contemporary popular acclaim. Combining the influence of Lawrence Alma-Tadema and Frederic Lord Leighton with contemporary Impressionism, Waterhouse met...
Dubbed the ‘Modern Pre-Raphaelite’, John William Waterhouse (1849-1917) was a magnet for contemporary popular acclaim. Combining the influence of Lawrence Alma-Tadema and Frederic Lord Leighton with contemporary Impressionism, Waterhouse met with tremendous success during his lifetime. In recent years, a flurry of media attention has brought the nineteenth century painter fresh acclaim.
A 2009 retrospective at the Royal Academy (RA) brought together prize works by the artist from major British museum collections. An auction sale for Victorian and Edwardian art held in December of the same year at Sotheby's and Christie's saw record results, happily ending a difficult year for the art market.
Immediately recognisable for his depictions of women from ancient Greek mythology and Arthurian legend, Waterhouse’s name remains synonymous with Romantic English painting. With his subtle use of symbolism and stunning realism, Waterhouse produced works of art such as Lady of Shallot (1888) to Miranda (1875) that have become emblems of Victorian sensibility.
In the midst of the Industrial Revolution, with living conditions in over-populated cities declining, what the British people wanted from art was escape. In contrast to the realism of the early Pre-Raphaelite brotherhood, Waterhouse's popularity depended upon his power to transport the viewer to another world.
It was in the 'Waterhouse girl', exemplified by the subject of this work, that the artist would find his calling card. Wearing her hair pinned back in the classical style and an enigmatic expression of longing on her inscrutible face, the woman depicted is typical of the figures for which the artist became known. Whilst her gaze reflects a longing for a simpler, and more beautiful age, her neo-classical beaiuty is a celebration of the power of aesthetics to transport the viewer to another world.
It is as ever the artist's solid craftsmanship that seals the transportative effect of this piece. Earned through painstaking imitation of his classical forebears, Waterhouse’s skillful painting technique is wholly in evidence in this engaging portrait.
A 2009 retrospective at the Royal Academy (RA) brought together prize works by the artist from major British museum collections. An auction sale for Victorian and Edwardian art held in December of the same year at Sotheby's and Christie's saw record results, happily ending a difficult year for the art market.
Immediately recognisable for his depictions of women from ancient Greek mythology and Arthurian legend, Waterhouse’s name remains synonymous with Romantic English painting. With his subtle use of symbolism and stunning realism, Waterhouse produced works of art such as Lady of Shallot (1888) to Miranda (1875) that have become emblems of Victorian sensibility.
In the midst of the Industrial Revolution, with living conditions in over-populated cities declining, what the British people wanted from art was escape. In contrast to the realism of the early Pre-Raphaelite brotherhood, Waterhouse's popularity depended upon his power to transport the viewer to another world.
It was in the 'Waterhouse girl', exemplified by the subject of this work, that the artist would find his calling card. Wearing her hair pinned back in the classical style and an enigmatic expression of longing on her inscrutible face, the woman depicted is typical of the figures for which the artist became known. Whilst her gaze reflects a longing for a simpler, and more beautiful age, her neo-classical beaiuty is a celebration of the power of aesthetics to transport the viewer to another world.
It is as ever the artist's solid craftsmanship that seals the transportative effect of this piece. Earned through painstaking imitation of his classical forebears, Waterhouse’s skillful painting technique is wholly in evidence in this engaging portrait.