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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 The engagement ring oil painting

Painting ID::  74876

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John William Godward
The engagement ring
oil on canvas.
   
   
     

 

 

John William Godward A Grecian Lovely oil painting

Painting ID::  74965

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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) cjr
   
   
     

 

 

John William Godward Absence Makes the Heart Grow Fonder oil painting

Painting ID::  75255

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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) cjr
   
   
     

 

 

John William Godward A Grecian Lovely oil painting

Painting ID::  76566

X 
 

John William Godward
A Grecian Lovely
Medium Oil on canvas Dimensions 20 ?? 15 7/8 inches (50.8 ?? 40.6 cm) cyf
   
   
     

 

 

John William Godward Absence Makes the Heart Grow Fonder oil painting

Painting ID::  77069

X 
 

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

 

 

John William Godward A Classical Beauty oil painting

Painting ID::  78053

X 
 

John William Godward
A Classical Beauty
Oil on canvas cjr
   
   
     

 

 

John William Godward A Classical Beauty oil painting

Painting ID::  81379

X 
 

John William Godward
A Classical Beauty
Medium Oil on canvas cyf
   
   
     

 

 

John William Godward Flabellifera oil painting

Painting ID::  81693

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John William Godward
Flabellifera
1905(1905) Medium Oil on canvas Dimensions 27 7/8 x 24 inches (71 x 61 cm) cyf
   
   
     

 

 

John William Godward Summer Flowers oil painting

Painting ID::  82736

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John William Godward
Summer Flowers
Date 1903 cyf
   
   
     

 

 

John William Godward Le Billet Doux (The Love Letter) oil painting

Painting ID::  94043

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John William Godward
Le Billet Doux (The Love Letter)
Date 1913(1913) Medium oil on canvas Dimensions 31 3/8 x 15 5/8 inches (80 x 39.8 cm) TTD
   
   
     

 

 

John William Godward A Fair Reflection oil painting

Painting ID::  97268

X 
 

John William Godward
A Fair Reflection
oil on canvas 116.8 x 80 cm cyf
   
   
     

 

 

John William Godward quiet pet oil painting

Painting ID::  97564

X 
 

John William Godward
quiet pet
oil on canvas 50.8 x 76.2 cm cyf
   
   
     

 

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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'.