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 :. | The Ring by John William Godward | At the Garden Shrine, Pompeii | Absence Makes the Heart Grow Fonder | The Fruit Vendor | On the Balcony |
Related Artists:Ludwig Guttenbrunn
Ludwig Guttenbrunn (1750 - 1819) was an artist who worked in the latter part of the 18th century and early 19th century. He specialized in portraiture and history painting.VARIN, Quentin
French Painter, ca.1570-1634
French painter. He was the son of a shoemaker and from 1597 to 1600 was in the papal territory of Avignon, where he worked with a local painter, Pierre Duplan ( fl late 16th century), enrolling also in the local painters' guild. By 1607 he had returned to northern France, and he was married that year at Amiens. In 1612 he was working in the Norman village of Les Andelys, and there he became Nicolas Poussin's first master. For the Gothic church of Notre-Dame, Le Grand Andely, he produced in 1612 a Martyrdom of St Vincent, a Martyrdom of St Clarus and a Regina Coeli (all in situ), the works that provided Poussin with his first contact with contemporary painting. These are the earliest fixed points in Varin's oeuvre, although a ruined Rock of the Philosophers (Rouen, Mus. B.-A.), reminiscent of such late 16th-century French Mannerist painters as Antoine Caron, Louis Hayet
French, 1864-1940.French painter and writer. He was largely self-taught and initially earned his living as an itinerant painter-decorator. In 1881 he met Lucien and Camille Pissarro while painting landscapes near Pontoise and through them met Paul Signac in 1885 and Seurat in 1886. After a years military service at Versailles, Hayet moved to Paris in the autumn of 1887. There he began to apply to his paintings Eug?ne Chevreuls theories of colour contrast with which he had become familiar by 1881. A gifted watercolour painter, he also experimented with the ancient technique of wax encaustic, painting on a prepared cotton that allowed light to filter through. The paint surface of works such as The Grange (Beauchamp, France, priv. col., see 1983 Pontoise exh. cat., no. 1) retains a vivid tonal freshness, while the subject of crowds of peasants gathered before the Paris agricultural market reveals a debt to Pissarro. During the second half of the 1880s he became obsessed with the notion of passage