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 :. | Idle Thoughts | Lesbia with her Sparrow | Erato at Her Lyre | Flabellifera | Campaspe |
Related Artists:Labille-Guiard, Adelaide
French Neoclassical Painter, 1749-1803
French painter. Labille-Guiard was a painter of the French nobility before the Revolution and survived to paint the citizens of the Directory. Emerging from the 18th-century tradition of powdered wigs and shimmering satins, she captured informal moments in the lives of her subjects, frequently depicting them interrupted from some pastimeSamuel Finley Breese Morse
Samuel F.B. Morse was born on April 27, 1791 in Charlestown, Massachusetts, the first child of geographer and Pastor Jedidiah Morse (1761-1826) and Elizabeth Ann Breese (1766-1828). Jedidiah was a great preacher of the Calvinist faith and supporter of the American Federalist party. He not only saw it as a great preserver of Puritan traditions (strict observance of the Sabbath), but believed in its idea of an alliance with English in regards to a strong central government. Jedidiah strongly believed in education within a Federalist framework alongside the instillation of Calvinist virtues, morals and prayers for his son. After attending Phillips Academy in Andover, Massachusetts, Samuel Morse went on to Yale College to receive instruction in the subjects of religious philosophy, mathematics and science of horses. While at Yale, he attended lectures on electricity from Benjamin Silliman and Jeremiah Day. He earned money by painting. In 1810, he graduated from Yale.
Morse's Calvinist beliefs are evident in his painting the Landing of the Pilgrims, through the depiction of simplistic clothing as well as the austere facial features. This image captured the psychology of the Federalists; Calvinists from England brought to the United States ideas of religion and government thus forever linking the two countries. More importantly, this particular work attracted the attention of the famous artist, Washington Allston. Allston wanted Morse to accompany him to England to meet the artist Benjamin West. An agreement for a three- year stay was made with Jedidah, and young Morse set sail with Allston aboard the Lydia on July 15, 1811 (1).
Upon his arrival in England, Morse diligently worked at perfecting painting techniques under the watchful eye of Allston; by the end of 1811, he gained admittance to the Royal Academy. At the Academy, he fell in love with the Neo-classical art of the Renaissance and paid close attention to Michelangelo and Raphael. After observing and practicing life drawing and absorbing its anatomical demands, the young artist successfully produced his masterpiece, the Dying Hercules.
To some, the Dying Hercules seemed to represent a political statement against the British and also the American Federalists. The muscles apparently symbolized the strength of the young and vibrant United States versus the British and British-American supporters. During Morse??s time in Britain the Americans and English were engaged in the War of 1812 and division existed within United States society over loyalties. Anti-Federalists Americans aligned themselves with the French, abhorred the British, and believed a strong central government to be inherently dangerous to democracy.(3) As the war raged on, his letters to his parents became more anti-Federalist in their tones. In one such letter Morse said, "I assert that the Federalists in the Northern States have done more injury to their country by their violent opposition measures than a French alliance could. Their proceedings are copied into the English papers, read before Parliament, and circulated through their country, and what do they say of them... they call them (Federalists) cowards, a base set, say they are traitors to their country and ought to be hanged like traitors."Ferdinand Max Bredt
painted In a courtyard, Tunis in 1921