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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 Classical Beauty oil painting

Painting ID::  68098

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John William Godward
Classical Beauty
Oil on canvas
   
   
     

 

 

John William Godward At the Garden Shrine, Pompeii oil painting

Painting ID::  68099

X 
 

John William Godward
At the Garden Shrine, Pompeii
Oil on canvas
   
   
     

 

 

John William Godward A Classical Beauty oil painting

Painting ID::  68100

X 
 

John William Godward
A Classical Beauty
Oil on canvas
   
   
     

 

 

John William Godward A Classical Beauty In Profile oil painting

Painting ID::  68101

X 
 

John William Godward
A Classical Beauty In Profile
Oil on canvas 25 X 20 1/8 inches (63.5 X 51.4 cm)
   
   
     

 

 

John William Godward The Melody, circa oil painting

Painting ID::  68102

X 
 

John William Godward
The Melody, circa
The Melody, circa 1904
   
   
     

 

 

John William Godward The Jewel Casket oil painting

Painting ID::  68472

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John William Godward
The Jewel Casket
Godward - The Jewel Casket
   
   
     

 

 

John William Godward A Priestess oil painting

Painting ID::  68563

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John William Godward
A Priestess
Source/Photographer Courtesy of Art Renewal Center at www.artrenewal.org
   
   
     

 

 

John William Godward A Souvenir oil painting

Painting ID::  70590

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John William Godward
A Souvenir
Medium Oil on canvas Dimensions 35 ?? 47 1/8 inches
   
   
     

 

 

John William Godward The Old Old Story oil painting

Painting ID::  70591

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John William Godward
The Old Old Story
Medium Oil on canvas Dimensions 51 3/8 ?? 27 7/8 inches
   
   
     

 

 

John William Godward Endymion oil painting

Painting ID::  70626

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John William Godward
Endymion
Medium Oil on canvas Dimensions 24 1/2 ?? 40 3/8 inches
   
   
     

 

 

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

Painting ID::  70860

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John William Godward
With Violets Wreathed and Robe of Saffron Hue
Medium Oil on canvas Dimensions 27 1/8 x 21 1/4 inches (69 x 54 cm)
   
   
     

 

 

John William Godward A Classical Beauty In Profile oil painting

Painting ID::  70861

X 
 

John William Godward
A Classical Beauty In Profile
Medium Oil on canvas Dimensions 25 x 20 1/8 inches (63.5 x 51.4 cm)
   
   
     

 

 

John William Godward A Pompeian Lady oil painting

Painting ID::  70934

X 
 

John William Godward
A Pompeian Lady
Godward John William A Pompeian Lady
   
   
     

 

 

John William Godward Youth and Time oil painting

Painting ID::  71474

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John William Godward
Youth and Time
1901(1901) Oil on canvas
   
   
     

 

 

John William Godward Flabellifera oil painting

Painting ID::  71552

X 
 

John William Godward
Flabellifera
Medium Oil on canvas Dimensions 5 7/8 x 4 1/2 inches (15 x 11.5 cm)
   
   
     

 

 

John William Godward Ionian Dancing Girl oil painting

Painting ID::  71800

X 
 

John William Godward
Ionian Dancing Girl
Date 1902(1902) Dimensions 53 7/8 x 32 7/8 inches (137.1 x 83.8 cm)
   
   
     

 

 

John William Godward The Peacock Fan oil painting

Painting ID::  71832

X 
 

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 Erato at Her Lyre oil painting

Painting ID::  72140

X 
 

John William Godward
Erato at Her Lyre
Oil on canvas cjr
   
   
     

 

 

John William Godward At the Garden Shrine, Pompeii oil painting

Painting ID::  72259

X 
 

John William Godward
At the Garden Shrine, Pompeii
Oil on canvas cjr
   
   
     

 

 

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

Painting ID::  72292

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) cjr
   
   
     

 

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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'.