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 :. | Venus Binding her Hair | A Pompeian Lady | Blossoming Red Almond | At the Gate of the Temple | Study of Campaspe |
Related Artists:
Henry Dawson
a landscape painter, was born in Hull in 1811, but came with his parents to Nottingham when an infant, so that he always regarded the latter as his native town. His parents were poor, and he began life in a Nottingham lace factory. But even while engaged in lace-making he continued to find time for art, and used to paint small pictures, which he sold at first for about half-a-crown each. In 1835 he gave up the lace trade and set up as an artist, his earliest patron being a hairdresser in Nottingham, who possessed a taste for art. In 1844 he removed to Liverpool, where after a time he got into greater repute, and received higher prices for his works. In 1849 he came with his family to London, and settled at Croydon, where some of his best pictures were painted. Among these may be reckoned 'The Wooden Walls of Old England,' exhibited at the British Institution in 1853, 'The Rainbow,' 'The Rainbow at Sea,' 'London Bridge,' and ' London at Sunrise.' With the exception of six lessons from Pyne received in 1838, Henry Dawson was entirely a self-taught artist, and his art shows much originality and careful realism. He studied nature for himself, but he seems in later life to have been moved by Turner's influence to try more brilliant effects than he had before dared. Many of his works indeed are very Turneresque in treatment, though he can scarcely be called an imitator of Turner, for he had a distinct style of his own. Henry Dawson, though painting much, and selling his pictures for high prices in his later life, remained, strange to say, very little known except to artists and connoisseurs until the large and very interesting collection of his works that was made for the Nottingham Exhibition in 1878 brought him wider fame. This exhibition showed him to be a genuine English landscape painter, of no great imaginative or intellectual power, but who delighted in nature, and represented her faithfully to the best of his ability. He died in December 1878, at Chiswick, where he had for some time resided.
Giovanni Biliverti
Maestricht 1576-Florence 1644
Lundbye, Johan Thomas
Danish Painter, 1818-1848 Danish painter. He studied at the Kongelige Akademi for de Sk?nne Kunster, Copenhagen, under Johan Ludvig Lund (1777-1867) and the animal painter Christian Holm (1804-46) between 1832 and 1842. Early on he was influenced by the ideas of the art historian N. L. H?yen, especially his concept of a truly national school of landscape painting. Kalundborg Church (1837; Copenhagen, Stat. Mus. Kst) depicts a historical monument familiar to all Danes, and one that had a particular nostalgic attraction for a painter born in Kalundborg. The picture is both sharply naturalistic and emphatically painterly. In Landscape Near Arres? (1838; Copenhagen, Thorvaldsens Mus.) Lundbye was more occupied with the representation of light and space. There is no anecdotal element; the lake, the open sky, the low hills, the ancient cairn, the cattle and the playing children sum up a typical Danish summer landscape. His larger canvases emphasize openness; flat expanses of land terminate in low tree-fringed horizons below vast skies. They have little of Constable's temperament or the broadness of Corot but are close to the elegiac mood of Caspar David Friedrich and Johan Christian Dahl. Danish landscape painting during the mid-1830s was greatly influenced by Romanticism