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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 Noonday Rest oil painting

Painting ID::  1798

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John William Godward
Noonday Rest

   
   
     

 

 

John William Godward Nerissa oil painting

Painting ID::  1799

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John William Godward
Nerissa

   
   
     

 

 

John William Godward Dolce Far Niente oil painting

Painting ID::  1800

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John William Godward
Dolce Far Niente
1904
   
   
     

 

 

John William Godward The Tease oil painting

Painting ID::  1801

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John William Godward
The Tease
1901
   
   
     

 

 

John William Godward The Betrothed oil painting

Painting ID::  1802

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John William Godward
The Betrothed
1892
   
   
     

 

 

John William Godward Does He Love me oil painting

Painting ID::  37674

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John William Godward
Does He Love me
mk127 20x30 Oil on canvas
   
   
     

 

 

John William Godward The Muse Erato at Her Lyre oil painting

Painting ID::  51792

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John William Godward
The Muse Erato at Her Lyre
mk221 1895 Oil on cavnas 73x82.6cm Britain 1861-1922
   
   
     

 

 

John William Godward Classical Beauty oil painting

Painting ID::  51793

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John William Godward
Classical Beauty
mk221 1906 Oil on canvas 40.6x30.5cm
   
   
     

 

 

John William Godward Absence Makes the Heart Grow Fonder oil painting

Painting ID::  51794

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John William Godward
Absence Makes the Heart Grow Fonder
mk221 1906 Oil on canvas 131x80cm
   
   
     

 

 

John William Godward Autumn oil painting

Painting ID::  67804

X 
 

John William Godward
Autumn
Source Downloaded from
   
   
     

 

 

John William Godward Campaspe oil painting

Painting ID::  67805

X 
 

John William Godward
Campaspe
Author John William Godward
   
   
     

 

 

John William Godward Idle Thoughts oil painting

Painting ID::  67806

X 
 

John William Godward
Idle Thoughts
Author John William Godward
   
   
     

 

 

John William Godward The Jewel Casket oil painting

Painting ID::  67807

X 
 

John William Godward
The Jewel Casket
John William Godward
   
   
     

 

 

John William Godward The Ring oil painting

Painting ID::  67810

X 
 

John William Godward
The Ring
Author John William Godward
   
   
     

 

 

John William Godward A Quiet Pet detail oil painting

Painting ID::  67811

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John William Godward
A Quiet Pet detail
Technique Oil on canvas Dimensions 20 x 30 inches (50.9 x 76.2 cm)
   
   
     

 

 

John William Godward Mischief oil painting

Painting ID::  67813

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John William Godward
Mischief
Technique Oil on canvas Dimensions 40 x 20 inches (101.6 x 50.8 cm)
   
   
     

 

 

John William Godward Study of Campaspe oil painting

Painting ID::  67814

X 
 

John William Godward
Study of Campaspe
Dimensions 14 ¼ X 7 ½ inches (36.2 X 19.3 cm) Current location Private collection
   
   
     

 

 

John William Godward A Priestess oil painting

Painting ID::  67829

X 
 

John William Godward
A Priestess
Une pretresse 1894
   
   
     

 

 

John William Godward A Priestess oil painting

Painting ID::  67834

X 
 

John William Godward
A Priestess
Une pretresse 1895
   
   
     

 

 

John William Godward A Pompeian Lady oil painting

Painting ID::  67845

X 
 

John William Godward
A Pompeian Lady
A Pompeian Lady 1891
   
   
     

 

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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'.