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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 Reverie oil painting

Painting ID::  68050

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John William Godward
Reverie
1912(1912) Oil on canvas 50 X 30 inches (127 X 76.2 cm)
   
   
     

 

 

John William Godward By the Wayside oil painting

Painting ID::  68051

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John William Godward
By the Wayside
1912(1912) Oil on canvas 49 1/8 X 32 5/8 inches (125 X 83 cm)
   
   
     

 

 

John William Godward Absence Makes the Heart Grow Fonder oil painting

Painting ID::  68052

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John William Godward
Absence Makes the Heart Grow Fonder
1912(1912) Oil on canvas 51 1/8 X 31 inches (130 X 79 cm)
   
   
     

 

 

John William Godward An Offering to Venus oil painting

Painting ID::  68053

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John William Godward
An Offering to Venus
1912(1912) Oil on canvas 30 1/2 X 15 1/8 inches (77.5 X 38.7 cm)
   
   
     

 

 

John William Godward Blossoming Red Almond oil painting

Painting ID::  68054

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John William Godward
Blossoming Red Almond
c. 1912 Oil on panel 12 3/8 x 15 5/8 inches (31.7 x 40 cm)
   
   
     

 

 

John William Godward The Peacock Fan oil painting

Painting ID::  68055

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John William Godward
The Peacock Fan
1912(1912) Oil on canvas 31 3/8 X 15 inches (80 X 38.4 cm)
   
   
     

 

 

John William Godward Le Billet Doux oil painting

Painting ID::  68056

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John William Godward
Le Billet Doux
1913(1913) Oil on canvas 31 3/8 X 15 5/8 inches (80 X 39.8 cm)
   
   
     

 

 

John William Godward The Belvedere oil painting

Painting ID::  68057

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John William Godward
The Belvedere
1913(1913) Oil on canvas 34 1/2 X 23 1/2 inches (87.8 X 59.8 cm)
   
   
     

 

 

John William Godward In the Tepidarium oil painting

Painting ID::  68058

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John William Godward
In the Tepidarium
1913(1913) Oil on canvas 38 3/4 x 19 inches (98.5 x 48.5 cm)
   
   
     

 

 

John William Godward La Pensierosa oil painting

Painting ID::  68059

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John William Godward
La Pensierosa
1913(1913) Oil on canvas 38 7/8 X 20 inches (99 X 51 cm)
   
   
     

 

 

John William Godward The New Perfume oil painting

Painting ID::  68062

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John William Godward
The New Perfume
1914(1914) Oil on canvas 40 1/8 X 20 inches (102 X 51 cm)
   
   
     

 

 

John William Godward Tranquillity oil painting

Painting ID::  68064

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John William Godward
Tranquillity
1914(1914) Oil on canvas 20 X 32 inches (50.8 X 81.3 cm)
   
   
     

 

 

John William Godward Tranquillity oil painting

Painting ID::  68065

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John William Godward
Tranquillity
1914(1914) Oil on canvas 20 X 32 inches (50.8 X 81.3 cm)
   
   
     

 

 

John William Godward Lesbia with her Sparrow oil painting

Painting ID::  68067

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John William Godward
Lesbia with her Sparrow
1916(1916) Oil on canvas 38 7/8 X 19 3/8 inches (99 X 49.5 cm)
   
   
     

 

 

John William Godward Under the Blossom that Hangs on the Bough oil painting

Painting ID::  68070

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John William Godward
Under the Blossom that Hangs on the Bough
1917(1917) Oil on canvas 24 X 32 inches (61 X 81.3 cm)
   
   
     

 

 

John William Godward The Fruit Vendor oil painting

Painting ID::  68069

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John William Godward
The Fruit Vendor
1917(1917) Oil on canvas 20 X 39 3/8 inches (50.8 X 100.3 cm)
   
   
     

 

 

John William Godward A Souvenir oil painting

Painting ID::  68094

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John William Godward
A Souvenir
1920(1920) Oil on canvas 35 X 47 1/8 inches (89 X 120 cm)
   
   
     

 

 

John William Godward The Old, Old Story oil painting

Painting ID::  68095

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John William Godward
The Old, Old Story
Oil on canvas 71.5 X 86.5 cm (28.15 X 34.06 in)
   
   
     

 

 

John William Godward Study of Campaspe oil painting

Painting ID::  68096

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John William Godward
Study of Campaspe
Oil on canvas 14 ¼ X 7 ½ inches (36.2 X 19.3 cm)
   
   
     

 

 

John William Godward Erato at Her Lyre oil painting

Painting ID::  68097

X 
 

John William Godward
Erato at Her Lyre
Oil on canvas
   
   
     

 

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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'.