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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 Ionian Dancing Girl oil painting

Painting ID::  67956

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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)
   
   
     

 

 

John William Godward With Violets Wreathed and Robe of Saffron Hue oil painting

Painting ID::  67957

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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)
   
   
     

 

 

John William Godward Contemplation oil painting

Painting ID::  67958

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John William Godward
Contemplation
1903(1903) Oil on canvas Private collection
   
   
     

 

 

John William Godward Summer Flowers oil painting

Painting ID::  67960

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John William Godward
Summer Flowers
Summer Flowers, 1903
   
   
     

 

 

John William Godward The Old, Old Story oil painting

Painting ID::  67992

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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)
   
   
     

 

 

John William Godward Dolce far Niente oil painting

Painting ID::  67994

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John William Godward
Dolce far Niente
Dolce far Niente, 1904
   
   
     

 

 

John William Godward Flabellifera oil painting

Painting ID::  67996

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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)
   
   
     

 

 

John William Godward Flabellifera oil painting

Painting ID::  67997

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John William Godward
Flabellifera
1905(1905) Oil on canvas 27 7/8 X 24 inches (71 X 61 cm)
   
   
     

 

 

John William Godward Leisure Hours oil painting

Painting ID::  67998

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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)
   
   
     

 

 

John William Godward Mischief oil painting

Painting ID::  67999

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John William Godward
Mischief
1905(1905) Oil on canvas 40 X 20 inches (101.6 X 50.8 cm)
   
   
     

 

 

John William Godward Drusilla oil painting

Painting ID::  68000

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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)
   
   
     

 

 

John William Godward The Tambourine Girl oil painting

Painting ID::  68001

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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)
   
   
     

 

 

John William Godward A Quiet Pet oil painting

Painting ID::  68003

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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)
   
   
     

 

 

John William Godward A Grecian Girl oil painting

Painting ID::  68004

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John William Godward
A Grecian Girl
A Grecian Girl, 1908
   
   
     

 

 

John William Godward Athenais oil painting

Painting ID::  68005

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John William Godward
Athenais
1908(1908) Oil on canvas 39 3/4 x 24 inches (101 x 61 cm)
   
   
     

 

 

John William Godward A Grecian Lovely oil painting

Painting ID::  68007

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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)
   
   
     

 

 

John William Godward At the Thermae oil painting

Painting ID::  68008

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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)
   
   
     

 

 

John William Godward A Classical Beauty oil painting

Painting ID::  68011

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John William Godward
A Classical Beauty
A Classical Beauty, 1909
   
   
     

 

 

John William Godward On the Balcony oil painting

Painting ID::  68013

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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)
   
   
     

 

 

John William Godward In Realms of Fancy oil painting

Painting ID::  68014

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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
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'.