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John William Waterhouse (1849-1917) was an English painter.
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John William Waterhouse (1849-1917) was an English painter.
{{painter|s}}.
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Works with their own pages:
* ''Art/{{The Lady of Shalott|Waterhouse}}'' (1888)
* ''Art/CirceInvidiosa'' (1892)
* ''Art/HylasAndTheNymphs'' (1896)
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!! Waterhouse's artworks:
[[index]]
* ''Art/{{The Lady of Shalott|Waterhouse}}'' (1888)
* ''Art/CirceInvidiosa'' (1892)
* ''Art/HylasAndTheNymphs'' (1896)
[[/index]]
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His paintings are known for their romantic, wistful women and depictions of scenes from Myth/ClassicalMythology, Myth/ArthurianLegend, and famous events from history.
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His paintings {{paintings}} are known for their romantic, wistful women and depictions of scenes from Myth/ClassicalMythology, Myth/ArthurianLegend, and famous events from history.
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* ''Art/TheLadyOfShalottWaterhouse'' (1888)
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* ''Art/TheLadyOfShalottWaterhouse'' ''Art/{{The Lady of Shalott|Waterhouse}}'' (1888)
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* ALoveToDismember: He made a version of ''Isabella and the Pot of Basil'' from ''Literature/{{Decameron}}'', painting Isabella embracing the pot where her dead lover's head is contained.
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* {{Odalisque}}: ''Dolce far Niente'' shows a woman reclining sideways on a couch, although she is clothed.
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* {{Odalisque}}: ''Dolce far Niente'' shows a woman reclining sideways on a couch, although she MagicalBarefooter: The sorceress in ''The Magic Circle'' is clothed.depicted doing her spells barefoot; it is implied that her powers are related to nature.
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* RecliningVenus: ''Dolce far Niente'' shows a woman reclining sideways on a couch, although she is clothed.
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* ''Art/TheLadyOfShalott'' (1888)
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* ''Art/TheLadyOfShalott'' ''Art/TheLadyOfShalottWaterhouse'' (1888)
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* ''Art/CirceInvidiosa'' (1892)
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* GreenEyedMonster: The topic of ''Circe Invidiosa'' (which literally means "Jealous Circe"). It depicts the moment in ''Literature/TheMetamorphoses'' where Circe, jealous of Glaucus's love for Scylla, poisons the water Scylla lives in and turns her into a monster.
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* FemmeFatale: The dangerous woman who had ensnared a man was a common theme in Waterhouse's portfolio, and he often painted examples of proto-femme fatales (drawing from myths and legend). Some common topics were sirens, lamia, and nymphs attracting unsuspecting men, beautiful women with such reputations like Cleopatra, and spurned sorceresses from myth (Circe and Medea). Embodied by the painting ''La belle dame sans merci'', titled after Creator/JohnKeats's ballad about the archetype. His later work began depicted less threatening and more romantic women.
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* FemmeFatale: The dangerous woman who had ensnared a man was a common theme in Waterhouse's portfolio, and he often painted examples of proto-femme fatales (drawing from myths and legend). Some common topics were sirens, lamia, and nymphs attracting unsuspecting men, beautiful women with such reputations like Cleopatra, and spurned sorceresses from myth (Circe and Medea). Embodied by the painting ''La belle dame sans merci'', titled after Creator/JohnKeats's ballad about the archetype. His later work began depicted less threatening and more romantic women.women; by the time he returns to Circe in ''The Sorceress'' she's pensive and intelligent instead.
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* PinkMeansFeminine: His later subjects were frequently wearing pink dresses, be they the plucky and beautiful romantic heroine Psyche, the seductive and shapeshifting lamia, the women collecting flowers in ''Gather Ye Rosebuds Why Ye May'' and ''Spring Spreads One Green Lap of Flowers'', the intelligent beauty of ''The Sorceress'', the spurned nymph Echo, the strongwilled wife and mother Penelope, or the tragic queen of legend Isolde.
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* PinkMeansFeminine: His later subjects were frequently wearing pink dresses, be they the plucky and beautiful romantic heroine Psyche, the seductive and shapeshifting lamia, the women collecting flowers in ''Gather Ye Rosebuds Why Ye May'' and ''Spring Spreads One Green Lap of Flowers'', the intelligent beauty of Circe in ''The Sorceress'', the spurned nymph Echo, the strongwilled wife and mother Penelope, or the tragic queen of legend Isolde.
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* FlowersOfFemininity: Expect to see women wearing flowers in their hair, hanging out in flower gardens (''Saint Cecilia'', ''Gathering Summer Flowers in a Devonshire Garden'', ''The Soul of the Rose''), in nature surrounded by flowers (''Ophelia'', Windflowers'', ''Spring Spreads One Green Lap of Flowers''), or holding bouquets (the ''Gather Ye Rosebuds'' series).
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* FlowersOfFemininity: Expect to see women wearing flowers in their hair, hanging out in flower gardens (''Saint Cecilia'', ''Gathering Summer Flowers in a Devonshire Garden'', ''The Soul of the Rose''), in nature surrounded by flowers (''Ophelia'', Windflowers'', ''Windflowers'', ''Spring Spreads One Green Lap of Flowers''), or holding bouquets (the ''Gather Ye Rosebuds'' series).
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[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/waterhouse.png]]
John William Waterhouse (1849-1917) was an English painter.
Waterhouse spent his early years in Italy, which scholars credit as the reason for his later focus on Classical subject matter. His early work was done in the Academic style (a European style that drew greatly on Neoclassicism and Romanticism) but he later transitioned to the style of the Pre-Raphaelite Brotherhood (a movement that emphasized the bright colors and naturalistic details of 1400's Italian art). The contrast between the two can be envisioned in his two takes on Miranda from ''Theatre/TheTempest'', [[https://www.dailyartmagazine.com/wp-content/uploads/2020/12/MIRANDA-QUALITY-1024x760.jpg the 1875 version]] leans more Academic, while the [[https://www.dailyartmagazine.com/wp-content/uploads/2021/10/MIRANDA-QUALITY-4-scaled-1024x737.jpg 1916 one]] is fully Pre-Raphaelite.
His paintings are known for their romantic, wistful women and depictions of scenes from Myth/ClassicalMythology, Myth/ArthurianLegend, and famous events from history.
Works with their own pages:
* ''Art/HylasAndTheNymphs'' (1896)
----
!!Tropes in his works:
* FemmeFatale: The dangerous woman who had ensnared a man was a common theme in Waterhouse's portfolio, and he often painted examples of proto-femme fatales (drawing from myths and legend). Some common topics were sirens, lamia, and nymphs attracting unsuspecting men, beautiful women with such reputations like Cleopatra, and spurned sorceresses from myth (Circe and Medea). Embodied by the painting ''La belle dame sans merci'', titled after Creator/JohnKeats's ballad about the archetype. His later work began depicted less threatening and more romantic women.
* FlowersOfFemininity: Expect to see women wearing flowers in their hair, hanging out in flower gardens (''Saint Cecilia'', ''Gathering Summer Flowers in a Devonshire Garden'', ''The Soul of the Rose''), in nature surrounded by flowers (''Ophelia'', Windflowers'', ''Spring Spreads One Green Lap of Flowers''), or holding bouquets (the ''Gather Ye Rosebuds'' series).
* GreenEyedMonster: The topic of ''Circe Invidiosa'' (which literally means "Jealous Circe"). It depicts the moment in ''Literature/TheMetamorphoses'' where Circe, jealous of Glaucus's love for Scylla, poisons the water Scylla lives in and turns her into a monster.
* {{Odalisque}}: ''Dolce far Niente'' shows a woman reclining sideways on a couch, although she is clothed.
* OurNymphsAreDifferent: Painted several depictions of nymphs as as beautiful, long-haired women who hung around nude in bodies of water until some unsuspecting man showed up.
* OurSirensAreDifferent:
** ''Ulysses and the Sirens'' depicts them as bird-like creatures with the heads of women disturbing Ulysses and company.
** ''The Siren'' depicts a beautiful woman (part sea-creature, indicated by her legs) holding a lyre as she watches a man drown beneath her.
* PinkMeansFeminine: His later subjects were frequently wearing pink dresses, be they the plucky and beautiful romantic heroine Psyche, the seductive and shapeshifting lamia, the women collecting flowers in ''Gather Ye Rosebuds Why Ye May'' and ''Spring Spreads One Green Lap of Flowers'', the intelligent beauty of ''The Sorceress'', the spurned nymph Echo, the strongwilled wife and mother Penelope, or the tragic queen of legend Isolde.
* SnakesAreSexy: Had a couple paintings depicting the lamia, a creature half beautiful and seductive woman, half snake.
* StarCrossedLovers: He painted scenes from the myths of Cupid and Psyche (a woman and her husband separated by Aphrodite's wrath), Pyramus and Thisbe (two lovers separated by a wall), and Tristan and Isolde (lovers separated by medieval politics).
* UnrequitedTragicMaiden:
** ''The Lady of Shalott'', loosely based on the Elaine of Arthuriana who pined after Lancelot to no avail, depicts the moment when the Lady loosens the chain of her boat to drift away down the river. Waterhouse also painted two other depictions of the same character.
** ''Echo and Narcissus'', based on the myth, shows a lovely young nymph despairing that Narcissus is too preoccupied with himself to love her back. As the story goes, she would eventually waste away.
* WaterIsWomanly: Loved to paint women romantically associated with water, whether it be water-related mythological figures (''Hylas and the Nymphs'', ''Undine'', ''A Naiad'', ''The Siren'', ''The Mermaid'') or women emoting near bodies of water (''Miranda'', ''The Lady of Shalott'', ''Circe Invidiosa'', ''Echo and Narcissus'', ''Ophelia'').
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John William Waterhouse (1849-1917) was an English painter.
Waterhouse spent his early years in Italy, which scholars credit as the reason for his later focus on Classical subject matter. His early work was done in the Academic style (a European style that drew greatly on Neoclassicism and Romanticism) but he later transitioned to the style of the Pre-Raphaelite Brotherhood (a movement that emphasized the bright colors and naturalistic details of 1400's Italian art). The contrast between the two can be envisioned in his two takes on Miranda from ''Theatre/TheTempest'', [[https://www.dailyartmagazine.com/wp-content/uploads/2020/12/MIRANDA-QUALITY-1024x760.jpg the 1875 version]] leans more Academic, while the [[https://www.dailyartmagazine.com/wp-content/uploads/2021/10/MIRANDA-QUALITY-4-scaled-1024x737.jpg 1916 one]] is fully Pre-Raphaelite.
His paintings are known for their romantic, wistful women and depictions of scenes from Myth/ClassicalMythology, Myth/ArthurianLegend, and famous events from history.
Works with their own pages:
* ''Art/HylasAndTheNymphs'' (1896)
----
!!Tropes in his works:
* FemmeFatale: The dangerous woman who had ensnared a man was a common theme in Waterhouse's portfolio, and he often painted examples of proto-femme fatales (drawing from myths and legend). Some common topics were sirens, lamia, and nymphs attracting unsuspecting men, beautiful women with such reputations like Cleopatra, and spurned sorceresses from myth (Circe and Medea). Embodied by the painting ''La belle dame sans merci'', titled after Creator/JohnKeats's ballad about the archetype. His later work began depicted less threatening and more romantic women.
* FlowersOfFemininity: Expect to see women wearing flowers in their hair, hanging out in flower gardens (''Saint Cecilia'', ''Gathering Summer Flowers in a Devonshire Garden'', ''The Soul of the Rose''), in nature surrounded by flowers (''Ophelia'', Windflowers'', ''Spring Spreads One Green Lap of Flowers''), or holding bouquets (the ''Gather Ye Rosebuds'' series).
* GreenEyedMonster: The topic of ''Circe Invidiosa'' (which literally means "Jealous Circe"). It depicts the moment in ''Literature/TheMetamorphoses'' where Circe, jealous of Glaucus's love for Scylla, poisons the water Scylla lives in and turns her into a monster.
* {{Odalisque}}: ''Dolce far Niente'' shows a woman reclining sideways on a couch, although she is clothed.
* OurNymphsAreDifferent: Painted several depictions of nymphs as as beautiful, long-haired women who hung around nude in bodies of water until some unsuspecting man showed up.
* OurSirensAreDifferent:
** ''Ulysses and the Sirens'' depicts them as bird-like creatures with the heads of women disturbing Ulysses and company.
** ''The Siren'' depicts a beautiful woman (part sea-creature, indicated by her legs) holding a lyre as she watches a man drown beneath her.
* PinkMeansFeminine: His later subjects were frequently wearing pink dresses, be they the plucky and beautiful romantic heroine Psyche, the seductive and shapeshifting lamia, the women collecting flowers in ''Gather Ye Rosebuds Why Ye May'' and ''Spring Spreads One Green Lap of Flowers'', the intelligent beauty of ''The Sorceress'', the spurned nymph Echo, the strongwilled wife and mother Penelope, or the tragic queen of legend Isolde.
* SnakesAreSexy: Had a couple paintings depicting the lamia, a creature half beautiful and seductive woman, half snake.
* StarCrossedLovers: He painted scenes from the myths of Cupid and Psyche (a woman and her husband separated by Aphrodite's wrath), Pyramus and Thisbe (two lovers separated by a wall), and Tristan and Isolde (lovers separated by medieval politics).
* UnrequitedTragicMaiden:
** ''The Lady of Shalott'', loosely based on the Elaine of Arthuriana who pined after Lancelot to no avail, depicts the moment when the Lady loosens the chain of her boat to drift away down the river. Waterhouse also painted two other depictions of the same character.
** ''Echo and Narcissus'', based on the myth, shows a lovely young nymph despairing that Narcissus is too preoccupied with himself to love her back. As the story goes, she would eventually waste away.
* WaterIsWomanly: Loved to paint women romantically associated with water, whether it be water-related mythological figures (''Hylas and the Nymphs'', ''Undine'', ''A Naiad'', ''The Siren'', ''The Mermaid'') or women emoting near bodies of water (''Miranda'', ''The Lady of Shalott'', ''Circe Invidiosa'', ''Echo and Narcissus'', ''Ophelia'').
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