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John William Godward
A Classical Beauty in Profile by John William Godward

Circa 1888

$248,500
£188,372.57
€219,692.84
CA$356,665.75
A$359,588
CHF 204,753.83
MX$4,370,943.14
NOK 2,417,020.22
SEK 2,410,081.47
DKK 1,642,178.14

About the Item

John William Godward 1861-1922 British A Classical Beauty in Profile Signed "J.W. Godward" (center right) Oil on canvas An extraordinary portrait by John William Godward, A Classical Beauty in Profile embodies his renowned style. Celebrated as one of the most important Neoclassical painters at the turn of the century, Godward's career was devoted to a style of Classicism known as the "Marble School," which rendered Greco-Roman beauties in their exquisite architectural settings. Draped in a golden tunic, Godward's signature beauty is caught in a moment of quiet reverie. His exceptional talent for color and texture is on full display, with each element of the composition rendered with a supreme, naturalistic finish. This work also centers one of Godward's favorite models, an Italian beauty who also posed for a similar portrait the same year, entitled The Engagement Ring. Embodying the essence of "peace, feminine charm and ideal perfection" that art historian Vern Grosvenor Swanson identified in Godward's best works, this painting is a masterpiece. Raised in Wimbledon, England, Godward debuted at London’s Royal Academy exhibition in 1887. By the subsequent decade, the burgeoning artist was on a steady ascent to artistic success. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton, and Sir Edward John Poynter, Godward quickly rivaled their style. The sensuality and mystery of Godward’s maidens, combined with his impressive backdrops, attracted fans across Europe and sent Godward on a rapid ascent to artistic stardom. In 1889, he was elected to the Royal Society of British Artists. Ten years later, Godward debuted at the Parisian Salon of 1899, where again he was heaped with praise. He moved to Rome in 1912 to surround himself with the physical remnants of the classical world, and there he stayed for the major part of his remaining career. Today, his works belong to prestigious collections worldwide, including the Getty Museum and the Manchester Art Gallery. Circa 1888 Canvas: 24 3/8” high x 19 3/8” wide (61.79 x 49.09 cm) Frame: 37” high x 32” wide x 4 1/4” deep (93.98 x 81.28 x 10.80 cm) Provenance: Private collection, United States Anonymous sale, Christie's New York, 22 October 1997, lot 72 Private collection, acquired at the above sale Private collection, New York M.S. Rau, New Orleans Literature: Vern Grosvenor Swanson, John William Godward: The Eclipse of Classicism, London, 1997, p. 173, no. 1 (illustrated)
  • Creator:
    John William Godward (1861-1922, British)
  • Creation Year:
    Circa 1888
  • Dimensions:
    Height: 37 in (93.98 cm)Width: 32 in (81.28 cm)Depth: 4.25 in (10.8 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    New Orleans, LA
  • Reference Number:
    Seller: 32-21201stDibs: LU18617570792

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John William Godward 1861-1922 British A Pompeian Lady Signed and dated "J.W. Godward 1904" (lower right, partially covered by frame) Oil on canvas One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled A Pompeian Lady, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pel. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops...

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