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 :. | Dolce Far Niente | Autumn | Flabellifera | Endymion | The Ring |
Related Artists:Alexey Bogolyubov
16 March 1824 - 3 February 1896) was a Russian landscape painter.
Bogolyubov was born in the Pomeranian village of Novgorod Gubernia. His father was retired colonel Pyotr Gavriilovich Bogolyubov. Bogolyubov's maternal grandfather was the well-known philosopher and social critic Alexander Radishchev.
In 1841, Alexey graduated from military school, serving in the Russian Navy and travelling with the fleet to many countries. In 1849, he started to attend classes of the Saint Petersburg Academy of Arts, where he studied under Maxim Vorobiev. The young painter was greatly influenced by Ivan Ayvazovsky. In 1853, he finished the Academy with a major Gold medal. He retired as a navy officer and was appointed an artist to the Navy headquarters.
From 1854 to 1860, he travelled around Europe and worked prolifically. In Rome, he was acquainted with Alexander Ivanov, who convinced Bogolyubov to focus more on drawing. In Desseldorf, Bogolyubov took classes from the painter Andreas Achenbach. In Paris, he admired the artists of the Barbizon School. French painters Camille Corot and Charles François Daubigny were good friends and collaborators with Bogolyubov.
Bogolyubov returned to Russia in 1860. He exhibited his works in the Academy and received the title of professor. For some time, he taught in the Academy. In the 1860s, he traveled along the Volga. His paintings lost all traces of Romanticism, replacing that element with staunch realism of the natural. In 1871 he was elected to the Imperial Academy of Arts.
Sailing ships, 1860From 1870, he became close to the The Wanderers art movement, participated in all their exhibitions. He became a member of their board. Much older than most of the other members of the movement, he had reservations on their social ideas. In 1873, Bogolyubov left the ? in solidarity with his fellow Itinerants. He even tried to create an alternative Russian Academy of Arts in Rome.
American painter of Scottish birth. In 1879 Kane emigrated to western Pennsylvania. He worked as a bricklayer, coal miner, steel worker and carpenter in the Ohio River valley and, in 1890, began to sketch local scenery. After losing his leg in a train accident in 1891, he was employed painting railway carriages. When his son died in 1904, Kane left his family and spent years wandering and working in odd jobs; his earliest surviving paintings date from around 1910. Settling in Pittsburgh, he worked as a house painter and in his spare time painted portraits, religious subjects, the city's urban landscape and memories of his Scottish childhood. In 1927 the jury of the Carnegie International Exhibition, Pittsburgh, encouraged by the painter-juror Andrew Dasburg (b 1887), accepted Kane's Scene in the Scottish Highlands (1927; Pittsburgh, PA, Carnegie Mus. A.). Kane's success, at first considered a hoax by the press, was based on the modernist interest in primitive and folk art. His work was regarded as non-academic and boldly original, and he became the first contemporary American folk artist to be recognized by a museum. Larimer Avenue Bridge (1932; Pittsburgh, PA, Carnegie Mus. A.) is characteristic of his style with its meticulous detail, flat colour and dominant green and red. Though he sketched and painted on the site, Kane freely transposed pictorial elements to create a more pleasing composition. This innate compositional sense is evident in his Self-portrait (1929; New York, MOMA). Bierstadt Albert
German-born American Hudson River School Painter, 1830-1902
was a German-American painter best known for his large landscapes of the American West. In obtaining the subject matter for these works, Bierstadt joined several journeys of the Westward Expansion. Though not the first artist to record these sites, Bierstadt was the foremost painter of these scenes for the remainder of the 19th century. Bierstadt was part of the Hudson River School, not an institution but rather an informal group of like-minded painters. The Hudson River School style involved carefully detailed paintings with romantic, almost glowing lighting, sometimes called luminism. Bierstadt was born in Solingen, Germany. His family moved to New Bedford, Massachusetts, in 1833. He studied painting with the members of the D??sseldorf School in D'sseldorf, Germany from 1853 to 1857. He taught drawing and painting briefly before devoting himself to painting. Bierstadt began making paintings in New England and upstate New York. In 1859, he traveled westward in the company of a Land Surveyor for the U.S. government, returning with sketches that would result in numerous finished paintings. In 1863 he returned west again, in the company of the author Fitz Hugh Ludlow, whose wife he would later marry. He continued to visit the American West throughout his career. Though his paintings sold for princely sums, Bierstadt was not held in particularly high esteem by critics of his day.