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John William Godward (1861-1922)  К сожалению, информация о нем нашлась только на английском языке. Грамотный перевод оказался мне не по силам, :-( поэтому привожу здесь оригинал. Если кто-то из моих friends сможет хотя бы вкратце перевести эту статью, буду очень благодарна. English Victorian Neoclassical artist The serene beauty and astonishing technical execution of John William Godward's paintings contradict the fact that this important artist has received virtually no critical acclaim or art historical recognition. We know little about this artist's private life, which is not betrayed by his art. Melancholy, kindly, reclusive, handsome, talented and shy, J. W. Godward's life is still a mystery, a censored book, protected by himself and sealed by his family. Unlike most Olympian Classicists before him, he preferred anonymity and privacy. Ignored by the quickly changing tastes of the art critics, Godward became the climatic figure of English classical-subject painting as this genre itself shriveled under the blaze of the 20th century avant-garde. He was the best of the last great European painters to straight- forwardly embrace classical Greece and Rome in their art. Herein lies his significance to art history. With him and his colleagues, we see the nightfall of five hundred years of Classical subject painting in Western art. Desperately idealistic, Godward was one of those artists, who at first glance, we think we fathom completely. Since he is often dismissed with the inadequate catch phrases: an Alma-Tadema clone, a "too late" Classicist, a "pedant of the brush", a "pot-boiler" or merely the painter of an insipid world of languorous women on marble benches, no serious study of his art has been undertaken. And because we are a society that honors "firsts" rather than "lasts" few art historians have examined the demise of Classical subject-painting, of which Godward is a chief exemplar. All of these judgements, in the light of historical distance, can be seen as unjust prejudices. In Godward's work we see the final summation of half a millennium of Classical antique influence on Western painting. Next to Christianity it was by far the greatest outside influence on European painting. It vanished during Godward's generation - killed, as it were, by contemporary nihilistic philosophies. While pointed references to Classicism continued, even unto today, the idealistic rhetoric accompanying it has died. During a period of rapidly declining interest in Greco-Roman antiquity courageous artists from the 19th century continued, against all odds, in this field for the first third of the 20th century. Godward, as one of the greatest practitioners of the Classical ideal. His art represents the summation of this incredibly important paradigm. What Godward does represent, is a microcosm for all Classicists during a period aptly called "The Twilight of the Gods" or "The Eclipse of Classicism." In the bigger picture, his career offers the clearest example of the death of the classical Greco-Roman subject painting. A slightly younger generation after Godward also saw the demise of modern- style classicism in the hostile environment of the early 20th century. Christopher Wood, who is greatly responsible for the resurrection of many obscure artists, like Godward, described him in the first edition of his Dictionary of Victorian Painters as an "imitator of Lawrence Alma-Tadema with whom he is sometimes confused." In the second edition this was amended to: "[He] developed his own very personal variation on the Alma-Tadema theme." This simple correction clearly demonstrates the increased attention being focused on Godward's pictures as his prices rose. For, in reality, very few of us could ever confuse a Godward with an Alma-Tadema. This neglect has continued unto today, when private collector's have begun to include him in their collections at prices rivaling those of Tadema himself. Art historians are now beginning to evaluate both Godward and his post-Olympian contemporaries, the "Last Classicists." The reason for this upsurge in appreciation is the realization that the quality of his work compares favorably with other late 19th and early 20th century Classicists. Over a remarkably consistent career of almost forty years he created a vital niche for his art. Обрученная  Мелодия  Нет или да?  Шкатулка с драгоценностями  Старая-старая история.  Nerissa.  Старая-старая история.(2)  Приятная праздность.  Уединение в прохладе.  Полуденный отдых в летний день.  | ||||||
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Трава называется майоран... -
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Juni 12., 2006
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| Все хочу Вас поблагодарить за прекрасные картины, которыми Вы нас радуете!:-) Я как-то купила блокнот - на обложке была как раз "Приятная праздность" Годварда - почему-то очень мне понравилась эта картина. А тут столько еще красоты! Спасибо! | ||||||
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| Не за что! Рада, что вам приятно все это созерцать :-))) Да, "Приятная праздность", пожалуй, одна из наиболее известных(=используемых) работ Годварда. Я тоже когда-то увидела именно ее, еще не зная автора, и очаровалась. | ||||||
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| А на картинах "Нет или да?" и "Обрученная" одна и та же барышня? | ||||||
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| Вот, к сожалению, ничего не могу сказать. :-((( У меня много его работ и просматривая их, мне показалось, что он использовал всего нескольких натурщиц, потому как на многих его картинах мне кажутся одни и те же лица. Так что все может быть :-))) | ||||||
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| Все время хочется перепутать с Ф. Лейтоном. У них очень похожие сюжеты. Интересно, они как-то пересекались в жизни? | ||||||
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| Что-то есть; некоторыми работами Лейтон действительно напоминает Годварда. Судя по датам, могли :-) А там - кто знает... | ||||||
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| Очень приятные картины. Расслабляют и радуют глаз. | ||||||
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| Да, хотя, к сожалению, у него много однотипных, на мой взгляд, работ. | ||||||
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| Какие идиллические римляне! А Nerissa похожа на Ханну. Брента, ты делаешь нужное и правильное дело, продолжай его, ладно? Твои галереи - это нечто... | ||||||
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| У меня, как оказалось, очень много скопилось в ПК художников, так что, пока не надоем - буду выставлять :-))) | ||||||
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Трава называется майоран... -
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