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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 Reverie 1912(1912)
Oil on canvas
50 X 30 inches (127 X 76.2 cm)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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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)
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John William Godward La Pensierosa 1913(1913)
Oil on canvas
38 7/8 X 20 inches (99 X 51 cm)
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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)
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John William Godward Tranquillity 1914(1914)
Oil on canvas
20 X 32 inches (50.8 X 81.3 cm)
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John William Godward Tranquillity 1914(1914)
Oil on canvas
20 X 32 inches (50.8 X 81.3 cm)
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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)
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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)
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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)
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John William Godward A Souvenir 1920(1920)
Oil on canvas
35 X 47 1/8 inches (89 X 120 cm)
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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)
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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)
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John William Godward Erato at Her Lyre Oil on canvas
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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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