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 At the Garden Shrine Pompeii oil painting


At the Garden Shrine Pompeii
Medium Oil on canvas Current location Private collection cyf
Painting ID::  73895
John William Godward
At the Garden Shrine Pompeii
Medium Oil on canvas Current location Private collection cyf
   
   
     

John William Godward He Loves Me He Loves Me Not oil painting


He Loves Me He Loves Me Not
Date 1896(1896) Medium Oil on canvas Dimensions 31 7/8 X 17 5/8 inches (81.2 X 45 cm) cyf
Painting ID::  73917
John William Godward
He Loves Me He Loves Me Not
Date 1896(1896) Medium Oil on canvas Dimensions 31 7/8 X 17 5/8 inches (81.2 X 45 cm) cyf
   
   
     

John William Godward Autumn oil painting


Autumn
Description Godward - Autumn.jpg "Autumn" by John William Godward Date 1900 cyf
Painting ID::  74113
John William Godward
Autumn
Description Godward - Autumn.jpg "Autumn" by John William Godward Date 1900 cyf
   
   
     

John William Godward Sweet Nothings by Godward oil painting


Sweet Nothings by Godward
Description Sweet Nothings by Godward.jpg Dolce far Niente or Sweet Nothings Date 1904 cyf
Painting ID::  74138
John William Godward
Sweet Nothings by Godward
Description Sweet Nothings by Godward.jpg Dolce far Niente or Sweet Nothings Date 1904 cyf
   
   
     

John William Godward A Pompeian Garden oil painting


A Pompeian Garden
Painted in 1904, oil on canvas.
Painting ID::  74875
John William Godward
A Pompeian Garden
Painted in 1904, oil on canvas.
   
   
     

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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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