The Annunciation - John William Waterhouse
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Description
A 1914 oil painting by John William Waterhouse depicting the biblical Annunciation with soft, atmospheric lighting and classical composition.
John William Waterhouse, a painter associated with the later stages of the Pre-Raphaelite movement, produced this version of The Annunciation in 1914. The composition depicts the biblical encounter between the Virgin Mary and the Archangel Gabriel. Mary is shown kneeling upon a stone terrace, her posture conveying a sense of surprise and humility. She wears a deep blue robe, a colour traditionally linked to her iconography, while Gabriel stands to the left, draped in flowing purple garments and holding a branch of white lilies, the symbol of purity.
The setting is an architectural space that blends classical elements with a garden environment. Stone steps lead upward into the background, creating a sense of depth that draws the eye across the canvas. Waterhouse employs a soft, atmospheric quality in his brushwork, which is characteristic of his later period. The light appears diffused, casting gentle shadows across the figures and the stone surfaces. Unlike earlier, more rigid interpretations of this subject, Waterhouse focuses on the emotional reaction of the figures within a quiet, contemplative space.
Waterhouse was known for his interest in classical mythology and literary themes, yet he frequently returned to religious subjects throughout his career. This work demonstrates his ability to integrate human emotion into traditional narratives. The interaction between the two figures is subtle, avoiding dramatic gestures in favour of a quiet, internalised moment. The palette is dominated by cool tones, with the blue of the robes providing a contrast to the muted greys and browns of the stone architecture. This print captures the specific textures of the original oil painting, from the fabric of the garments to the weathered stone of the terrace, offering a clear view of the artist's technique and his approach to narrative composition.
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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
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- 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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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
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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 Annunciation - 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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