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 :. | Reverie | The Jewel Casket | Does He Love me | Erato at Her Lyre | The Jewel Casket |
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Johann Michael Sattler
(28 September 1786, Herzogenburg, Lower Austria - 28 September 1847, Mattsee, Salzburg) was an Austrian portrait and landscape painter, best known for his large-scale panoramas. Sattler attended the Vienna Academy beginning in 1804 under the tutelage of Hubert Maurer. In 1819 Sattler moved to Salzburg, where in 1824 he began to paint a 360-degree panorama of the city as seen from the top of Salzburg's castle. The massive work covered 125 square metres and was first exhibited in 1829. Salzburg made him an honorary resident. Stattler toured across Europe with the painting for ten years, writing about his return in 1838, "with 30 tons and crossing approximately 30,000 kilometres of land and water, a feat no one had ever done before me and one which would be difficult to repeat in the future." Satler's son, the artist Hubert Sattler, donated the work to the city in 1870. The painting is now on display at the Salzburg Museum in a specially designed area called the Panorama Museum.
MAUPERCHe, Henri
French Baroque Era Painter, ca.1602-1686
HUYSUM, Jan van
Dutch Painter, 1682-1749 Dutch painter of still life and landscapes. His father was Justus van Huysum (1659?C1716), a successful landscape and genre painter of Amsterdam. Although he painted landscapes in a classical style, Jan is best known for his flower and fruit still lifes in oil and in watercolor. These are distinguished for their brilliant light and shade effects, delicacy of coloring, and exquisite finish. They are to be found in most of the leading European museums