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 :. | With Violets Wreathed and Robe of Saffron Hue | Mischief | A Souvenir | The Betrothed | Summer Flowers |
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(8 September 1742 - 9 March 1810) was a leading English painter of portrait miniatures, later oils and pastels, of the 18th century. He was elected to the Royal Academy in 1791, and in 1792 he was appointed Portrait Painter in Crayons to the King.
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French Pointillist Painter, 1858-1941
French painter and printmaker. He was born and brought up in the working-class surroundings of Montparnasse, and an interest in the daily routines and labours of the petit peuple of Paris informs much of his art. After an apprenticeship with the wood-engraver Henri Theophile Hildebrand (b 1824), in 1876 he entered the studio of the wood-engraver Eugene Froment where he assisted in the production of engravings for various French and foreign publications such as L'Illustration and The Graphic. He also sporadically attended classes at the Academie Suisse and in the studio of Carolus-Duran. In Froment's studio he came into contact with the artists Leo Gausson and Emile-Gustave Peduzzi Martin Drolling
French Academic Painter, 1752-1817,After receiving initial training from an unknown painter in Selestat, Drolling moved to Paris, where he attended courses at the Acad?mie Royale. He supplemented his education there by studying Flemish and Dutch Old Masters in the collection at the Luxembourg Palace. From the Flemish school he derived his own rich impasto, while the Dutch was to influence him in his meticulous, supremely descriptive and unsentimental style of painting as well as his choice of subject-matter: unfussy bourgeois interiors and frank portraits. Drolling first exhibited at the Salon de la Correspondance in 1781 and again in 1782 and 1789. After the French Revolution he was able to participate in the Salon at the Louvre, despite the fact that he had never become a member of the Academie Royale. He exhibited from 1793 to 1817, although the majority of his works extant today were shown after 1800. From 1802 to 1813 he was employed by the Sevres porcelain manufactory, and many of his designs were engraved.