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Oil Paintings Come From United Kingdom
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John William Godward
English 1861-1922 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'.

 

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John William Godward Godward Leaning on the Balcony oil painting

Painting ID::  67846

X 
 

John William Godward
Godward Leaning on the Balcony
Godward Leaning on the Balcony 1892
   
   
     

 

 

John William Godward A Priestess oil painting

Painting ID::  67847

X 
 

John William Godward
A Priestess
A Priestess, 1893
   
   
     

 

 

John William Godward Yes or No oil painting

Painting ID::  67849

X 
 

John William Godward
Yes or No
Yes or No, 1893
   
   
     

 

 

John William Godward Endymion oil painting

Painting ID::  67850

X 
 

John William Godward
Endymion
1893(1893) Oil on canvas 24 1/2 X 40 3/8 inches
   
   
     

 

 

John William Godward A Priestess oil painting

Painting ID::  67852

X 
 

John William Godward
A Priestess
A Priestess, 1894
   
   
     

 

 

John William Godward Pompeian Lady oil painting

Painting ID::  67854

X 
 

John William Godward
Pompeian Lady
Pompeian Lady, 1895
   
   
     

 

 

John William Godward He Loves Me, He Loves Me Not oil painting

Painting ID::  67855

X 
 

John William Godward
He Loves Me, He Loves Me Not
1896(1896) Oil on canvas 31 7/8 X 17 5/8 inches (81.2 X 45 cm)
   
   
     

 

 

John William Godward Campaspe oil painting

Painting ID::  67856

X 
 

John William Godward
Campaspe
Campaspe, 1896
   
   
     

 

 

John William Godward Venus Binding her Hair oil painting

Painting ID::  67857

X 
 

John William Godward
Venus Binding her Hair
Venus Binding her Hair, 1897
   
   
     

 

 

John William Godward At the Gate of the Temple oil painting

Painting ID::  67858

X 
 

John William Godward
At the Gate of the Temple
At the Gate of the Temple, 1898
   
   
     

 

 

John William Godward The Ring oil painting

Painting ID::  67859

X 
 

John William Godward
The Ring
The Ring, 1898
   
   
     

 

 

John William Godward Idle Thoughts oil painting

Painting ID::  67862

X 
 

John William Godward
Idle Thoughts
Idle Thoughts, 1898
   
   
     

 

 

John William Godward The Bouquet oil painting

Painting ID::  67863

X 
 

John William Godward
The Bouquet
1899(1899) Oil on canvas Private collection
   
   
     

 

 

John William Godward The Mirror oil painting

Painting ID::  67866

X 
 

John William Godward
The Mirror
1899(1899) Oil on canvas 31 5/8 X 14 3/4 inches (80.6 X 37.5 cm)
   
   
     

 

 

John William Godward Autumn oil painting

Painting ID::  67868

X 
 

John William Godward
Autumn
Autumn, 1900
   
   
     

 

 

John William Godward The Jewel Casket oil painting

Painting ID::  67869

X 
 

John William Godward
The Jewel Casket
The Jewel Casket, 1900
   
   
     

 

 

John William Godward Idleness oil painting

Painting ID::  67870

X 
 

John William Godward
Idleness
Idleness, 1900
   
   
     

 

 

John William Godward Sweet Dreams oil painting

Painting ID::  67872

X 
 

John William Godward
Sweet Dreams
1901(1901) Oil on canvas 38 7/8 X 23 inches (99 X 58.5 cm)
   
   
     

 

 

John William Godward Venus at the Bath oil painting

Painting ID::  67873

X 
 

John William Godward
Venus at the Bath
1901(1901) Oil on canvas 67 3/4 X 24 inches (172.1 X 61 cm)
   
   
     

 

 

John William Godward Chloris  A Summer Rose oil painting

Painting ID::  67955

X 
 

John William Godward
Chloris A Summer Rose
before 1902 Oil on canvas 20 X 20 inches (50.80 X 50.80 cm)
   
   
     

 

       Prev    1  2  3  4  5  6  7     Next

 

John William Godward
English 1861-1922 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'.