John William Godward
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'. Related Paintings of John William Godward :. | On the Balcony | Le Billet Doux (The Love Letter) | Mischief | Autumn | A Priestess |
Related Artists:BLONDEEL, Lanceloot
Flemish Northern Renaissance Painter, 1498-1561
South Netherlandish painter, draughtsman, designer, architect, civil engineer, cartographer and engraver. He is said to have trained as a bricklayer, and the trowel he used to add as his housemark next to his monogram LAB testifies to this and to his pretensions as an architectural designer. In 1519 he was registered as a master painter in the Bruges Guild of St Luke, where he chose as his speciality painting on canvas. The following year he collaborated with the little-known painter Willem Cornu in designing and executing 12 scenes for the Triumphal Entry of Emperor Charles V into Bruges. From then onwards Blondeel received regular commissions, mainly as a designer and organizer. Records of legal actions show that he was sometimes late with commissions; he took seven years to execute a Last Judgement ordered in 1540 for the council chamber at Blankenberge, and in 1545 the Guild of St Luke summoned him for his failure to supply their guild banner on time. Blondeel was married to Kathelyne, sister of the wood-carver Michiel Scerrier; of the two daughters of this marriage, the eldest, Maria, married the tapestry-weaver Andries Hansins before 1542 and the younger, Anna, married Blondeel's pupil, the painter Pieter Pourbus, before 1545.Jean Leon Gerome Ferris
(August 18, 1863 - March 18, 1930) was an American painter best known for his series of 78 scenes from American history, entitled The Pageant of a Nation, the largest series of American historical paintings by a single artist.
He was born in Philadelphia, Pennsylvania, the son of Stephen James Ferris, a portrait painter and a devotee of Jean-L??on G??rôme (after whom he was named) and Mariano Fortuny.He grew up around art, having been trained by his father and having two acclaimed painters, Edward Moran and Thomas Moran, as uncles.
Ferris enrolled in the Pennsylvania Academy of the Fine Arts in 1879 and trained further at the Acad??mie Julian beginning in 1883 under William-Adolphe Bouguereau.He also met his namesake G??rôme, who greatly influenced Ferris's decision to paint scenes from American history. As Ferris wrote in his unpublished autobiography, "[G??rôme's] axiom was that one would paint best that with which he is most familiar".
However, initially his subjects were Orientalist in nature, that movement having been in vogue when he was young. Some of his material was original, some of it took after Fortuny, but he was skilled enough, despite never having had any experience with Asia. In 1882, he exhibited a painting entitled Feeding the Ibis, which was valued at $600.
By 1895, Ferris had gained a reputation as a historical painter, and he embarked on his dream of creating a series of paintings that told a historical narrative. In 1898 he sold one of these, General Howe's Levee, 1777, but he later regretted it, realizing that such a series could not be complete if the separate paintings could not be kept together. As such, he never sold another one of those, but he did sell the reproduction rights to various publishing companies. This later would have the effect of greatly popularizing his work, as these companies made prints, postcards, calendars and blank-backed trade cards use in advertisements. Laminated cards of these works were still being sold as late as 1984.
The Landing of William PennThe paintings showed idealized portrayals of famous moments from American history, but were often historically inaccurate. The Landing of William Penn, for example, shows Penn being greeted at New Castle by American Indians who are clothed in the tradition of tribes from the Great Plains. In The First Thanksgiving 1621, the black outfits the Pilgrims are shown wearing are wrong, and the Wampanoag did not wear feathered war bonnets, nor would they have been sitting on the ground.
The complete series was shown at Independence Hall in Philadelphia from 1913 to 1930, then moved next door to Congress Hall. In later years it was shown in a number of locations, including the Smithsonian Institution, before being returned to the Ferris family.Felix-Auguste Clement