John William Godward
John William Godward's
Oil Paintings

John William Godward Museum
9 August 1861-13 December 1922, was an English painter.

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John William Godward
Tranquillity
1914(1914) Oil on canvas 20 X 32 inches (50.8 X 81.3 cm)
ID: 68064

John William Godward Tranquillity
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John William Godward Tranquillity


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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'.  Related Paintings of John William Godward :. | La Pensierosa | He Loves Me He Loves Me Not | With Violets Wreathed and Robe of Saffron Hue | The Old, Old Story | Autumn |
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Medardo Rosso
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Jules Coignet
was born in Paris in 1798 and died there in 1860. He was a noted landscape painter who had studied under Jean-Victor Bertin. He travelled a good deal in his own country as well as elsewhere in Europe and the East, and produced a considerable number of views. A regular exhibitor at the Paris Salon exhibitions, he was awarded a gold medal there in 1824 and was given state recognition by being made a Chevalier of the Legion of Honour in 1836. As a painter, Coignet holds a middle place between the Idealists and the Realists, and his work is remarkable for the combination of vigour and delicacy in the effects of light and shade, for poetical feeling, for a firm brush, and occasionally for grandeur of conception. This is particularly evident in "The Ruins of the Temple of Paestum", now in Munich's Neue Pinakothek.There are times too when his paintings have an atmospheric, almost Impressionist effect. One example is the coastal sunset in the Louvre; another is the pastel "Grey weather over the sea" (1848) in the Dijon museum. Following the 1824 exhibition in Paris of John Constable's paintings, Coignet began painting outside in the forest of Fontainbleau and encouraged his students to do the same. One of his specialities was painting tree 'portraits', of which there are many examples, both as finished paintings and as sketches in oil paint.






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