John William Godward
Godward was a Victorian Neo-classicist, and therefore a follower in theory of Frederic Leighton. However, he is more closely allied stylistically to Sir Lawrence Alma-Tadema, with whom he shared a penchant for the rendering of Classical architecture, in particular, static landscape features constructed from marble.
The vast majority of Godward's extant images feature women in Classical dress, posed against these landscape features, though there are some semi-nude and fully nude figures included in his oeuvre (a notable example being In The Tepidarium (1913), a title shared with a controversial Alma-Tadema painting of the same subject that resides in the Lady Lever Art Gallery). The titles reflect Godward's source of inspiration: Classical civilisation, most notably that of Ancient Rome (again a subject binding Godward closely to Alma-Tadema artistically), though Ancient Greece sometimes features, thus providing artistic ties, albeit of a more limited extent, with Leighton.
Given that Classical scholarship was more widespread among the potential audience for his paintings during his lifetime than in the present day, meticulous research of detail was important in order to attain a standing as an artist in this genre. Alma-Tadema was, as well as a painter, an archaeologist who attended historical sites and collected artefacts that were later used in his paintings: Godward, too, studied such details as architecture and dress, in order to ensure that his works bore the stamp of authenticity. In addition, Godward painstakingly and meticulously rendered those other important features in his paintings, animal skins (the paintings Noon Day Rest (1910) and A Cool Retreat (1910) contain superb examples of such rendition) and wild flowers (Nerissa (1906), illustrated above, and Summer Flowers (1903) are again excellent examples of this).
The appearance of beautiful women in studied poses in so many of Godward's canvases causes many newcomers to his works to categorise him mistakenly as being Pre-Raphaelite, particularly as his palette is often a vibrantly colourful one. However, the choice of subject matter (ancient civilisation versus, for example, Arthurian legend) is more properly that of the Victorian Neoclassicist: however, it is appropriate to comment that in common with numerous painters contemporary with him, Godward was a 'High Victorian Dreamer', producing beautiful images of a world which, it must be said, was idealised and romanticised, and which in the case of both Godward and Alma-Tadema came to be criticised as a world-view of 'Victorians in togas'. Related Paintings of John William Godward :. | A Classical Beauty | Le Billet Doux (The Love Letter) | Belvedere | The Old, Old Story | Autumn |
Related Artists:Balthasar van der Ast
(1593/94 - 1657) was a Dutch Golden Age painter who specialized in still lifes of flowers and fruit, as well as painting a number of remarkable shell still lifes; he is considered to be a pioneer in the genre of shell painting. His still lifes often contain insects and lizards. He was born in Middelburg and died at Delft.
Italian painter, Roman school (b. 1599, Nettuno, d. 1661, Roma).Italian painter and designer. He occupied an important position, midway between Annibale Carracci and Carlo Maratti, in the development of a more restrained, less decorative painting in 17th-century Rome, a trend that culminated in the 18th century with Pompeo Batoni. Sacchi trained with Francesco Albani, Carracci's student, and taught Maratti. His often expressed devotion to the art of Raphael and Carracci and his criticism of the views of Pietro da Cortona and Gianlorenzo Bernini made him, with Nicolas Poussin and Alessandro Algardi, one of the most significant representatives of a stylistic and aesthetic opposition to the more flamboyant, extrovert aspects of the High Baroque. Sacchi did not, however, share Poussin's passionate interest in Classical antiquity, nor was his mature work as cerebral. Yet his mature style, less richly coloured than his early manner and more restrained emotionally, Sir George Clausen,RA
English painter. He was the son of a Danish interior decorator and a woman of Scottish descent. At 14 he was apprenticed to the drawing office of Messrs Trollope, a London firm of decorators. While working there he attended evening classes at the National Art Training School, South Kensington, but his first important artistic contact came when he was sent to decorate a door at the home of the painter Edwin Long. With Long's encouragement, Clausen obtained a two-year scholarship to the South Kensington School of Art and then decided to further his training at the Antwerp Academy. After studying briefly under Professor Joseph Van Lerius (1823-76), he began to sketch in the fishing villages along the Dutch coast; the product of these studies