John William Godward Paintings

John William Godward Biography

The serene beauty and astonishing technical execution of John William Godward 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, his life is still a mystery, a censored book, protected by himself and sealed by his family. Unlike most Olympian Classicists before him, John William Godward preferred anonymity and privacy.

Ignored by the quickly changing tastes of the art critics, the artist became the climatic figure of English classicism painting as this genre itself shriveled under the blaze of the 20th century avant-garde. John William Godward was the best of the last great European artists 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 John William Godward painting in Western art.

Desperately idealistic, the painter was one of those artists, who at first glance, we think we fathom completely. Since John William Godward 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 classicism paintings, of which John William Godward is a chief exemplar. All of these judgments, in the light of historical distance, can be seen as unjust prejudices.

In John William Godward paintings 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.