The Soul of the Rose - John William Waterhouse
Archival giclée
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Description
A serene portrait by John William Waterhouse, depicting a woman in a garden as she pauses to smell a climbing rose.
Painted in 1908, The Soul of the Rose is a characteristic work by John William Waterhouse, a painter associated with the later phase of the Pre-Raphaelite movement. The composition depicts a woman in profile, standing against a stone wall, as she leans forward to inhale the scent of a climbing rose. Her posture is one of quiet contemplation, with her hand gently raised to touch the flower. The figure is dressed in a patterned, loose-fitting garment that suggests a classical influence, a common motif in Waterhouse's later career.
The setting is a walled garden, a recurring theme in the artist's work, which provides a sense of enclosure and intimacy. The background features architectural elements, including a glimpse of a building with an arched window, which adds a layer of depth to the scene. Waterhouse employs a soft, painterly technique, focusing on the texture of the fabric and the delicate petals of the roses. The colour palette is dominated by muted earth tones, greens, and the soft pinks of the flowers, creating a harmonious and tranquil atmosphere.
Waterhouse was known for his interest in literary and mythological subjects, yet this work leans towards a more personal, atmospheric study. The title is derived from a poem by Alfred, Lord Tennyson, titled Maud, which contains the lines: 'And the soul of the rose went into my blood'. This connection to Victorian poetry reflects the broader cultural interests of the period. The painting remains a clear example of the artist's ability to capture a fleeting moment of sensory experience, balancing the figure with the natural environment. The work is currently held in a private collection, though it has been exhibited in various retrospectives of the artist's career.
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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.
Care and materials
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
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
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- Dust gently with a soft, dry cloth
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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
The Soul of the Rose - John William Waterhouse
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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