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 :. | Erato at Her Lyre | The Tambourine Girl | Contemplation | The Peacock Fan | Study of Campaspe |
Related Artists:Maurice Denis
Maurice Denis Locations
French painter, designer, printmaker and theorist. Although born in Normandy, Denis lived throughout his life in Saint-Germain-en-Laye, just west of Paris. He attended the Lycee Condorcet, Paris, where he met many of his future artistic contemporaries, then studied art simultaneously at the Ecole des Beaux-Arts and at the Academie Julian (1888-90). Through fellow student Paul Serusier, in 1888 he learnt of the innovative stylistic discoveries made that summer in Pont-Aven by Paul Gauguin and Emile Bernard. With Serusier and a number of like-minded contemporaries at the Academie Julian Eric Forbes-Robertson
a figure and landscape painter
a figure and landscape painter.was a Scottish painter of landscapes, flowers, and foliage, with children. He was a cousin of James Hornell. He was born in Australia, of Scottish parents, and he was brought up and lived practically all his life in Scotland, at Kirkcudbright. He studied for three years at the art school at Edinburgh, and for two years at Antwerp under Professor Verlat. Returning from Antwerp in 1885, he met George Henry and associated himself with the Glasgow School. Hornel and Henry collaborated upon "The Druids Bringing In The Mistletoe" (1890), a procession of priests bringing in the sacred mistletoe, gorgeous with polychrome and gold. The two worked side by side to achieve decorative splendor of color, Hornel boldly and freely employing texture effects produced by loading and scraping, roughening, smoothing, and staining. In 1893-94 the two artists spent a year and a half in Japan, where Hornel learned much about decorative design and spacing. Towards the close of the nineties his colors, while preserving their glow and richness, became more refined and more atmospheric, and his drawing more naturalistic, combining sensuous appeal with emotional and poetic significance. In 1901 he declined election to the Royal Scottish Academy. In 1901 he acquired Broughton House, a townhouse and garden in Kirkcudbright, which was his main residence for the rest of his life.Lydia jemima price