Diogenes - John William Waterhouse
Archival giclée
Ready to hang
Secure checkout
Made to order
Description
John William Waterhouse's 'Diogenes' portrays the philosopher Diogenes in his tub, visited by curious onlookers. The painting combines classical subject matter with Pre-Raphaelite aesthetics.
John William Waterhouse's painting, Diogenes, depicts the ancient Greek philosopher Diogenes of Sinope in his famous residence, a large ceramic jar or tub. The scene unfolds on the steps of a classical building, where Diogenes is visited by a group of young women. One woman, clad in a pink robe, leans forward, seemingly offering something to the philosopher. Another woman, holding a parasol, stands further up the steps, observing the interaction. The background features a classical architectural structure and a distant, hazy vista. Diogenes, known for his ascetic lifestyle and rejection of social norms, is shown seated within his jar, holding a scroll. The painting captures a moment of encounter between the philosopher's unconventional existence and the more conventional world represented by the women. Waterhouse's style blends Pre-Raphaelite attention to detail with classical subject matter, creating a scene that is both visually appealing and rich in historical and philosophical allusions. The colour palette is dominated by muted tones, with the pink of the woman's robe and the blue of another's shawl providing subtle contrasts.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
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.
Diogenes - John William Waterhouse
Our Features
Designed for Lasting Impact
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
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
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
Why Choose Us ?
100% Satisfaction Guarantee
Fast Shipping
Museum-Quality Materials
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.
You May Also Like