WATERHOUSE

John William Waterhouse RA (6 April 1849 – 10 February 1917) was an English painter known for working first in the Academic style and for then embracing the Pre-Raphaelite Brotherhood's style and subject matter. His artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.

Born in Rome to English parents who were both painters, Waterhouse 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. Many of his paintings are based on authors such as Homer, Ovid, Shakespeare, Tennyson, or Keats.

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.

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The Lady of Shalott is a painting of 1888 by the English painter John William Waterhouse. It is a representation of the ending of Alfred, Lord Tennyson's 1832 poem of the same name. Waterhouse painted three versions of this character, in 1888, 1894 and 1915. It is one of his most famous works, which adopted much of the style of the Pre-Raphaelite Brotherhood, though Waterhouse was painting several decades after the Brotherhood split up during his early childhood. The Lady of Shalott was donated to the public by Sir Henry Tate in 1894 and is usually on display in Tate Britain, London, in room 1840.

This dramatic painting illustrates an episode from the journeys of the Greek hero Odysseus (in Latin, Ulysses) told in the poet Homer’s Odyssey in which the infamous Sirens lured unwary sailors towards perilous rocks and their doom by singing in the most enchanting manner. Odysseus wished to hear the Siren’s song and ordered his crew to lash him to a mast and block their ears in order to ensure their safe passage.

Waterhouse has depicted each Siren with the body of a bird and the head of a beautiful woman, which came as a surprise to Victorian audiences, who were more used to seeing these mythic creatures portrayed as comely mermaid-like nymphs. He borrowed the motif from an ancient Greek vase that he studied in the British Museum.

When Ulysses and the Sirens was first exhibited, at London’s Royal Academy in 1891, the painting was praised by most art critics of the day. MH Spielmann, writing for the Magazine of Art, declared it: ‘a very startling triumph … a very carnival of colour, mosaicked and balanced with a skill more consummate than even the talented artist was credited with … The quality of the painting is … a considerable advance upon all his antecedent work’. At the time of Sir Hubert von Herkomer’s purchase of this picture for the National Gallery of Victoria, in June 1891, the Ulysses was only the second work by John William Waterhouse to be acquired for a public gallery.