{"title":"John William Godward Prints","description":"\u003cdiv class=\"artist-bio\"\u003e\n\u003ch2\u003eAbout John William Godward\u003c\/h2\u003e\n\u003cp\u003eJohn William Godward (1861–1922) was an English painter, born in Wimbledon, London. He first worked in his father's insurance firm and trained in architecture with William Hoff Wonter before turning to painting. He exhibited at the Royal Academy from 1887 and became a member of the Royal Society of British Artists in 1889. In 1911 he travelled to southern Italy and then settled in Rome, where he lived until he returned to London in 1921.\u003c\/p\u003e\n\u003cp\u003eGodward was a Victorian Neo-Classicist and a follower of Sir Lawrence Alma-Tadema. He is known for classical genre scenes of women in Greek and Roman dress, painted with close attention to marble, fabric and flowers. Key works include Venus Binding Her Hair (1897), The Tambourine Girl (1906) and In the Tepidarium (1913). His work is held by the J. Paul Getty Museum, the Metropolitan Museum of Art and the British Museum.\u003c\/p\u003e\n\u003c\/div\u003e\u003cp\u003eJohn William Godward prints: reproductions of the Victorian Neo-Classical paintings of women in ancient Greek and Roman settings. The collection includes Pyrallis (1918), A Pompeian Lady (1901), Sweet Dreams (1904), Leaning Against a Column (1901) and Contemplation (1922).\u003c\/p\u003e\u003cp\u003eOur selection focuses on single figures on marble terraces, benches and baths, often with flowers, as in The Fragrant Rose (1892), Violets, Sweet Violets (1906) and The Bouquet (1899). The works run from A Priestess of Bacchus (1890) to Eurypyle (1920), and share Godward's palette of white marble, blue sea and sky, and drapery in yellow, rose and violet.\u003c\/p\u003e\u003cp\u003eThe light marble tones and single figures suit living rooms, bedrooms, bathrooms and hallways. All prints are museum-quality reproductions, available unframed or framed with low-glare acrylic glazing, with free shipping and import duties covered.\u003c\/p\u003e","products":[{"product_id":"john-william-godward-reverie-fine-art-print","title":"John William Godward — Reverie | Fine Art Print","description":"\u003cp\u003eA woman with dark curled hair sits on a white marble bench, one leg crossed and her hands clasped near her knee, her gaze turned out of the picture. A peach-coloured wrap falls loosely from her shoulders over a pale green skirt patterned with a leafy border, and a spotted fur throw is draped across the bench beside her. A carved stone herm and cypress trees stand behind her, with a calm sea and distant headland beyond the terrace wall.\u003c\/p\u003e\u003cp\u003eJohn William Godward (1861–1922) was an English Neo-Classicist painter. He received little formal training and worked under the influence of Lawrence Alma-Tadema, adopting the same meticulous rendering of classical architecture and costume, and specializing in single or paired female figures set against marble terraces and Mediterranean views. His technical command of contrasting textures, marble, fur, flesh and drapery, made him one of the last significant painters in the Victorian classical tradition, a style that had fallen out of critical favour by the time of his death. His paintings are held by the J. Paul Getty Museum, the Metropolitan Museum of Art and the British Museum.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Below her, an openwork marble screen reveals pink and green shrubs, and beyond the terrace a blue lake stretches toward distant hills, framed by dark cypress trees and a leafy grove. She wears leather sandals laced around her bare feet.\u003c\/p\u003e\u003cp\u003eJohn William Godward (1861–1922) was an English Neo-Classicist painter. He received little formal training and worked under the influence of Lawrence Alma-Tadema, adopting the same meticulous rendering of classical architecture and costume, and specializing in single or paired female figures set against marble terraces and Mediterranean views. His technical command of contrasting textures, marble, fur, flesh and drapery, made him one of the last significant painters in the Victorian classical tradition, a style that had fallen out of critical favour by the time of his death. His paintings are held by the J. 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One lies asleep on her back, red hair spilling over the fur, in a sheer pale blue dress tied with yellow ribbons. The other, kneeling on a dark bearskin with a white band in her auburn hair, leans in and brushes the sleeper's face with a long thin stem. Behind them rise panels of rose-flecked stone, white veined marble and a dark red curtain; a blue ribbon trails across the tiled floor.\u003c\/p\u003e\u003cp\u003eJohn William Godward (1861–1922) was an English Neo-Classicist painter. He received little formal training and worked under the influence of Lawrence Alma-Tadema, adopting the same meticulous rendering of classical architecture and costume, and specializing in single or paired female figures set against marble terraces and Mediterranean views. His technical command of contrasting textures, marble, fur, flesh and drapery, made him one of the last significant painters in the Victorian classical tradition, a style that had fallen out of critical favour by the time of his death. 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A red sash crosses her waist and a broad saffron-yellow drape covers her lap, where she rests a shell dish of cherries with an iridescent lining. Black hair is bound with two gold bands. Behind her the wall is set with white veined marble, grey-green and rose stone; the signature and date sit at the upper left.\u003c\/p\u003e\u003cp\u003eJohn William Godward (1861–1922) was an English Neo-Classicist painter. He received little formal training and worked under the influence of Lawrence Alma-Tadema, adopting the same meticulous rendering of classical architecture and costume, and specializing in single or paired female figures set against marble terraces and Mediterranean views. His technical command of contrasting textures, marble, fur, flesh and drapery, made him one of the last significant painters in the Victorian classical tradition, a style that had fallen out of critical favour by the time of his death. His paintings are held by the J. 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