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Here are all the paintings of John William Godward 02
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 68057 |
 |
The Belvedere |
1913(1913)
Oil on canvas
34 1/2 X 23 1/2 inches (87.8 X 59.8 cm)
|
| 1802 |
 |
The Betrothed |
1892 |
| 67863 |
 |
The Bouquet |
1899(1899)
Oil on canvas
Private collection
|
| 74876 |
 |
The engagement ring |
oil on canvas. |
| 68069 |
 |
The Fruit Vendor |
1917(1917)
Oil on canvas
20 X 39 3/8 inches (50.8 X 100.3 cm)
|
| 67807 |
 |
The Jewel Casket |
John William Godward |
| 67869 |
 |
The Jewel Casket |
The Jewel Casket, 1900
|
| 68472 |
 |
The Jewel Casket |
Godward - The Jewel Casket |
| 68102 |
 |
The Melody, circa |
The Melody, circa 1904
|
| 67866 |
 |
The Mirror |
1899(1899)
Oil on canvas
31 5/8 X 14 3/4 inches (80.6 X 37.5 cm)
|
| 51792 |
 |
The Muse Erato at Her Lyre |
mk221
1895
Oil on cavnas
73x82.6cm
Britain
1861-1922
|
| 68062 |
 |
The New Perfume |
1914(1914)
Oil on canvas
40 1/8 X 20 inches (102 X 51 cm)
|
| 70591 |
 |
The Old Old Story |
Medium Oil on canvas
Dimensions 51 3/8 ?? 27 7/8 inches
|
| 67992 |
 |
The Old, Old Story |
1903(1903)
Oil on canvas
51 3/8 X 27 7/8 inches (130.8 X 71.1 cm)
|
| 68095 |
 |
The Old, Old Story |
Oil on canvas
71.5 X 86.5 cm (28.15 X 34.06 in)
|
| 68055 |
 |
The Peacock Fan |
1912(1912)
Oil on canvas
31 3/8 X 15 inches (80 X 38.4 cm)
|
| 71832 |
 |
The Peacock Fan |
1912(1912)
Oil on canvas
31 3/8 x 15 inches (80 x 38.4 cm)
|
| 67810 |
 |
The Ring |
Author John William Godward
|
| 67859 |
 |
The Ring |
The Ring, 1898
|
| 73306 |
 |
The Ring by John William Godward |
The Ring by John William Godward
cjr |
| 68001 |
 |
The Tambourine Girl |
1906(1906)
Oil on canvas
45 X 29 7/8 inches (114.5 X 76 cm)
|
| 1801 |
 |
The Tease |
1901 |
| 68064 |
 |
Tranquillity |
1914(1914)
Oil on canvas
20 X 32 inches (50.8 X 81.3 cm)
|
| 68065 |
 |
Tranquillity |
1914(1914)
Oil on canvas
20 X 32 inches (50.8 X 81.3 cm)
|
| 68070 |
 |
Under the Blossom that Hangs on the Bough |
1917(1917)
Oil on canvas
24 X 32 inches (61 X 81.3 cm)
|
| 67873 |
 |
Venus at the Bath |
1901(1901)
Oil on canvas
67 3/4 X 24 inches (172.1 X 61 cm)
|
| 67857 |
 |
Venus Binding her Hair |
Venus Binding her Hair, 1897
|
| 67957 |
 |
With Violets Wreathed and Robe of Saffron Hue |
1902(1902)
Oil on canvas
27 1/8 X 21 1/4 inches (69 X 54 cm)
|
| 70860 |
 |
With Violets Wreathed and Robe of Saffron Hue |
Medium Oil on canvas
Dimensions 27 1/8 x 21 1/4 inches (69 x 54 cm)
|
| 67849 |
 |
Yes or No |
Yes or No, 1893
|
| 71474 |
 |
Youth and Time |
1901(1901)
Oil on canvas
|
| 72649 |
 |
Youth and Time |
Date 1901(1901)
Medium Oil on canvas
cyf |
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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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