A Pompeian Lady
A Pompeian Lady c1904 by British Painter John William Godward (1861 – 1922); kerjaya yang merangkumi akhir era Neo-Klasik. Dia juga melukis dalam Simbolisme, Gaya Pergerakan Seni Estetik dan Akademik
A Pompeian Lady is a beautiful and alluring portrait of a young woman of the Pompeian era relaxing on a tiger skin covered marble bench on her balcony that over looks a landscape of tall trees, the sea and a mountain on the opposite side.
The balcony is composed of a white marble ledge that has a large column on that has a column composed of a flat square base, a circular on top, and a beautiful multicolored column; part of which is covered by a large maroon colored drape that is placed behind her face.
On the young ladies red hair is a series of silver straps that make up a headdress which ties her bundled hair back, and complement the two orange straps with black geometric patterns on them that cross over each other at her back, holding her sheer blue robe or gown in place, which has three buttons on the upper arm portion of the short sleeves.
The teal blue color of her dress is nicely contrasted with the slightly darker color of the water and the light blue sky, that transitions down to a misty white hue, highlighting the mountains we see in the distance.
A Pompeian Lady is a remastered digital art old masters reproduction of a public domain image that is available as a canvas, kayu, acrylic and metal print online.
Maklumat Di Bawah Dari Wikipedia.org
John William Godward was the eldest of five children, dan dinamakan sempena bapanya John dan datuk William.
He exhibited at the Royal Academy from 1887. When he moved to Italy with one of his models in 1912, his family broke off all contact with him and even cut his image from family pictures. Godward returned to England in 1921, died in 1922, and is buried in Brompton Cemetery, West London.
One of his best-known paintings is Dolce far Niente (1904), which was purchased for the collection of Andrew Lloyd Webber in 1995. As in the case of several other paintings, Godward painted more than one version; in this case, an earlier (and less well-known) 1897 version with a further 1906 version.
He committed suicide at the age of 61 and is said to have written in his suicide note that “the world is not big enough for [both] myself and a Picasso”.
His estranged family, who had disapproved of his becoming an artist, were ashamed of his suicide and burned his papers. Only one photograph of Godward is known to survive.
Godward ialah seorang Victorian Neo-Classicist, dan oleh itu, secara teori, seorang pengikut Frederic Leighton. Walau bagaimanapun, dia lebih rapat bersekutu secara gaya dengan Sir Lawrence Alma-Tadema, dengan siapa dia berkongsi kegemaran untuk rendering seni bina Klasik - khususnya, ciri landskap statik yang dibina daripada marmar.
The vast majority of Godward’s extant images feature women in classical dress posed against landscape features; although there are some semi-nude and fully nude figures included in his oeuvre, a notable example being “In The Tepidarium c1913”.
Tajuk yang dikongsi dengan lukisan Alma-Tadema kontroversial dengan subjek yang sama yang terdapat di “Galeri Seni Lady Lever”. Tajuk-tajuk itu mencerminkan sumber inspirasi Godward; yang merupakan peradaban klasik, terutamanya Rom kuno; subjek yang mengikat Godward secara dekat dengan Alma-Tadema secara artistik.
Memandangkan bahawa keilmuan Klasik lebih meluas di kalangan calon penonton untuk lukisannya sepanjang hayatnya daripada pada masa sekarang, kajian terperinci yang teliti adalah penting untuk mencapai kedudukan sebagai seniman dalam genre ini.
Alma-Tadema adalah ahli arkeologi dan juga pelukis, yang menghadiri laman bersejarah dan mengumpulkan artifak yang kemudian digunakannya dalam lukisannya: Ketuhanan, juga, mengkaji perincian seperti seni bina dan pakaian, untuk memastikan bahawa karya-karyanya mempunyai cap keaslian.
Sebagai tambahan, Ketuhanan dengan tekun dan teliti memberikan ciri penting lain dalam lukisannya, kulit haiwan yang lukisannya “Rehat Siang tengah hari c1910” dan “Retreat Sejuk c1910” mengandungi contoh penyampaian seperti bunga liar “Nerissa c1906” dan “Bunga Musim Panas c1903”.
The appearance of beautiful women in studied poses in so many of Godward’s canvases causes many newcomers to his works to categorize him mistakenly as being Pre-Raphaelite, terutamanya kerana paletnya sering berwarna-warni. Pilihan subjek (tamadun kuno berbanding, sebagai contoh, Legenda Arthurian) adalah lebih tepat daripada zaman Neo-klasik Victoria.
Persamaan dengan banyak pelukis sezaman dengannya, Godward adalah ‘Pemimpi Victoria Tinggi’, menghasilkan imej dunia yang ideal dan romantis yang, dalam kes baik Tuhan dan Alma-Tadema, datang untuk dikritik sebagai pandangan dunia orang Victoria di togas.
Ketuhanan “cepat membangun reputasi untuk lukisan wanita muda dalam suasana klasik dan kemampuannya untuk menyampaikan dengan kepekaan dan penguasaan teknikal rasa tekstur daging yang berbeza, guli, bulu dan kain.
Godward’s penchant for creating works of art set in the classical period probably came from the time period in which he was born; kerana ini adalah kebangkitan klasik skala penuh terakhir dalam lukisan barat, yang berkembang di England dari tahun 1860-an hingga tahun 1890-an.
