Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
The Soul of the Rose - John William Waterhouse
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
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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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. See our refunds page for full details.
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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.
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
- 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
Complete The Look
The Soul of the Rose - John William Waterhouse
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
John William Waterhouse
Waterhouse painted women from myths who were about to drown, be cursed, or meet something terrible. The Lady of Shalott drifting downstream to her death. Hylas being pulled into a pool by nymphs. Circe offering poison. Ophelia. Echo and Narcissus. The women are always beautiful. The water is always involved. The moment is always the one just before everything goes wrong.
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.
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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Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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