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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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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 Ionian Dancing Girl 1902(1902)
Oil on canvas
53 7/8 X 32 7/8 inches (137.1 X 83.8 cm)
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John William Godward With Violets Wreathed and Robe of Saffron Hue 1902(1902)
Oil on canvas
27 1/8 X 21 1/4 inches (69 X 54 cm)
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John William Godward Contemplation 1903(1903)
Oil on canvas
Private collection
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John William Godward Summer Flowers Summer Flowers, 1903
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John William Godward The Old, Old Story 1903(1903)
Oil on canvas
51 3/8 X 27 7/8 inches (130.8 X 71.1 cm)
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John William Godward Dolce far Niente Dolce far Niente, 1904
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John William Godward Flabellifera 1905
Oil on canvas
5 7/8 X 4 1/2 inches (15 X 11.5 cm)
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John William Godward Flabellifera 1905(1905)
Oil on canvas
27 7/8 X 24 inches (71 X 61 cm)
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John William Godward Leisure Hours 1905(1905)
Oil on canvas
20 X 17 7/8 inches (50.8 X 45.7 cm)
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John William Godward Mischief 1905(1905)
Oil on canvas
40 X 20 inches (101.6 X 50.8 cm)
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John William Godward Drusilla 1906(1906)
Oil on canvas
52 1/2 X 32 3/8 inches (133.5 X 82.5 cm)
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John William Godward The Tambourine Girl 1906(1906)
Oil on canvas
45 X 29 7/8 inches (114.5 X 76 cm)
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John William Godward A Quiet Pet 1906(1906)
Oil on canvas
20 X 30 inches (50.9 X 76.2 cm)
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John William Godward A Grecian Girl A Grecian Girl, 1908
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John William Godward Athenais 1908(1908)
Oil on canvas
39 3/4 x 24 inches (101 x 61 cm)
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John William Godward A Grecian Lovely 1909(1909)
Oil on canvas
20 X 15 7/8 inches (50.8 X 40.6 cm)
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John William Godward At the Thermae 1909(1909)
Oil on canvas
30 1/8 X 15 inches (76.8 X 38.1 cm)
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John William Godward A Classical Beauty A Classical Beauty, 1909
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John William Godward On the Balcony 1911(1911)
Oil on canvas
31 7/8 X 16 1/8 inches (81 X 41 cm)
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John William Godward In Realms of Fancy
Year 1911(1911)
Oil on canvas
15 1/4 X 15 1/4 inches (39 X 39 cm)
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John William Godward
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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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