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| J.W. Godward: the Eclipse of Classicism, by Vern Grosvenor Swanson, Phd |
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One of the most original of Godward's paintings is A Greek Beauty (1905) which one can only tell as a Greek rather than Roman girl by virtue of the marble freeze of fighting Centaurs and Amazon patterned after the Parthenon metopes. In is oil he paints a brilliant white gown instead of his usual vividly coloured ones. Then, as if to compensate for the lack of colour, he paints a multicoloured stola, which too is unique in this picture. While it was painted in January of 1905, it was not exhibited until McLean's Annual Winter Exhibition in November-December.
In all possibility he had come to the end of his interest in eliciting public approval in Great Britain for his art. It all seemed to him as if he was swimming against the critical tide. While he did exhibit in Paris in 1905 with his Leisure Hours and continued to do so elsewhere on the continent, his work nearly drops out of the English exhibition circuit. It is written, "But the shy sensitivity that brought about his early end probably also contributed to his dearth of exhibited work."154 The reason for this dearth may be found in his departure during 1905 to the continent for an extended visit to Italy, thus creating the natural break in his painting activities. He simply never got back into the swing of exhibiting again, particularly since those activities seemed ever more futile. The Royal Academy would simply receive no more entries from Godward, even after his return. There is evidence that Godward made a trip, possibly his first, to Italy in 1905. The Chelsea Football Club, Stamford Bridge was founded in 1905.155 It was possibly began in connection with the erection of open terraces for the Chelsea Football Field, just behind Godward's home. What had been a pleasant athletic field, now became a small but noisy construction site. The ruckus from this and other unsettling growth in the area might have literally driven Godward out of his residence in 1905. The first indication of an Italian tour comes from a drawing from a sketchbook owned by his nephew Peter John Godward. Other drawings before and after seem to relate to pictures datable to 1904-05. Several drawings are of artifacts from the Museo Nazionale in Naples. One in particular is inscribed "Naples Museum" and numbered with their inventory numeral. While it is possible that the work was copied from a reproduction of one of the antiquities from that museum, a direct response from the original seems more likely.156
The family believed that he lived in Capri, not Rome. Nin [Mary Frederica] noted on several occasions that he lived in or near Capri.157Since we know for certain his Roman address in 1911-12 to 1921, we can assume that the 1905 sojourn was mostly to southern Italy instead. This would account for the abundance of material relating to Ischia, Capri and Pompeii. Pompeii remained the great attraction. He painted oil studies Capri, near Serrento, Pompeii and the Bay of Naples. His Punta Campanelle from Capri (above Fazaglioni) (c.1905) represents this interest. The significance of a sojourn to Italy and Naples would have been immense on a less mature painter, but to Godward the effects of the tour were barely noticeable. In much the same manner of Alma-Tadema's visits to Pompeii, Godward must have returned more sure of his artistic direction and more confident of his ability to express it. Yet his art reflects no vital change, only continued quality production. It is difficult to assess the contribution of Italy of 1905 and 1911 on the oeuvre of Godward, so seamless are the changes. Godward must been captivated by Italy for he returns in 1910-11 for an eleven year stay. On the second of May, 1905, Godward received an enigmatic note for eleven paintings from his dealer, Thomas McLean. The paintings are noted by Godward's inventory number starting with No.67 Idleness (1900) and ending with No.110, Outside the Gate of Pompeii (1905). The list seems to have been a registration of some sort, costing £10 apiece. Perhaps it was with the Printsellers Association. Perhaps the best of Godward's work of 1905 was Mischief. Known by an oil study and a 40 x 20 inch final version, this canvas is sometimes called Summer Thoughts or Reverie. It depicts a maiden on a marble exedra, sitting on a pillow and tiger skin. She is picking the pedals of a rose, as she divines her suitors true feelings, with a game of "he loves me, he loves me not." Another oil study painted in 1905 was for the rather large and famous canvas of Nerissa (1906). The picture achieves a profound degree of monumentality coupled with sensitivity. Possibly inspired by a Pompeiian visit, the model has a certain "come hither" look, like the attraction Godward must have felt for the Roman peninsula. The large jawed Italian models were often used by Godward and became the mainstay of his facial type in much the same way that Jane Morris became the Pre-Raphaelite image of femininity. In his masterful, A Quiet Pet (1906) Godward has painted tortoises eating lettuce beside a comely Roman maiden. As in most of Godward's paintings of women, they seldom stand or sit erect, but repose in lethargic manner. Vulnerable might be an apt description for these lovelies. This oil is more effective than L. Alma-Tadema's oil of the same subject but different composition, also entitled Quiet Pet (1881). The inclusion of animals becomes a rare fixture in Godward's art.
Since 1893 when the first prints were made of Godward's At the Fountain his fame steadily rose through the media of chromo-lithographs and hand-coloured photogravures. Many artists of the time, and since, have interested themselves in this same marketing device. The many letters of copyright and the numerous known prints from his work, prove Godward's and his dealer, T. M. Mclean's interest in this lucrative field.158 The 1907-08 period saw the culmination and zenith of Godward's involvement in the reproduction print market. More than anything, it projected his work to a broader public than just the collectors who ventured to McLean Galleries on Haymarket street for an expensive original. Godward had became more famous for the prints after his work than for the paintings themselves. The Printsellers Association records over twenty prints by Godward, half of what the much more famous Tadema had made.159 Unlike Alma-Tadema who assiduously signed most of his prints, Godward signed very few. The Artist magazine of 1898 spoke to this issue: Among the best pictures of the period was his circular oil, The Love Letter (1907). The beautiful maiden is seen dressed in greenish-blue tunic with red ribbons and crimson stola, holds a stylus and wax board, as she gathers her thoughts for a love letter. As is typical with Godward he is better when he allows a few simple elements to describe his work, rather than multiply their complexity. Fulsome breasts are clearly revealed through the diaphanous dress adding an innocent sensualness to an otherwise tender moment from antiquity. Contrasted with The Love letter, Godward's A Pompeian Garden (1907) multiplies its pictorial complexities and loses its emotional thrust. The oil is one of Godward's last oils with multiple figures, which only serves in this case, to divide our interest. Whereas in simpler pictures the flowers and marbles only add to the total gestalt, these elements seem to detract our attention in this composition. | |
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However, even after these auctions, the feeble McLean moved to The Pall Mall Deposit, St. Albans Place on Regent Street to carry on the sale of Godward's work. He finally acquires the artist's Nyssia on the 28th of March 1908. His strength had so declined that he was unable to finish the copyright letter to Godward. Thomas M. McLean dies on the 3rd of July 1908 after twenty-one years of fostering Godward's career.162 The artist had lost his closest ally and for a recluse like Godward this was devastating.
When Hollender died on the 11th of June 1906, Eugene Cremetti was obliged to close the Gallery. Christie's sales of the 8th and 10th of December in 1906 disposes of most of the Hanover Gallery stock.164 In 1906, at Hollender's death, the young Paul Eugene Cremetti (1889- ) joins the art trade business with his father.165 Cremetti & Son re-enter the art marketplace in a big way, upon acquiring the prestigious Thomas McLean's Gallery at No. 7 Haymarket Street some time before May of 1908. Ismenia was the first oil they handled by Godward in May. Interestingly the copyright letter for that painting is signed "Th. McLean, E.C., Eug Cremetti" denoting that Cremetti was in some way still encumbered to McLean, even at this late date.166 From this time onward the McLean Gallery began advertising itself as "Eugene Cremetti Successor," probably with the view of attracting and retaining McLean's clients.167 While Eugene Cremetti succeeded Thomas McLean at No. 7 Haymarket, even using his name, it was never the same for Godward's career. We can get some idea of the reconstituted gallery's history from its exhibition catalogues in the Victoria and Albert Library. Continuing until 1907 there are numerous and regular exhibition catalogues. Then with the retirement of T. M. McLean in January the catalogue's general shape and style changes (now smaller and thinner, with lesser known and more foreign artists). This coincided with the words 'Eugène Cremetti Successor" appearing in italic under the name of "Thomas McLean" on the catalogue cover. The transition was by no means absolutely smooth. There seems to be some difficulties between the art dealer and the artist. Godward's relationship with McLean was based on a statement signed by T. M. McLean. Even though Godward had already sold some work to Eugene Cremetti by May of 1908, they had not come fully to terms.168 It also seems that Cremetti was not the only art dealer to vie for Godward's service after McLean's retirement and death. The secret of McLean's success seems to have been his ability to network with other art dealers, especially those outside London in northern England. If paintings did not readily sell in London he might send them to dealers in Blackburn and Harrogate. Possibly these dealers, after McLean's retirement and with his permission, sought direct contact with the artist. Certainly Godward himself would not have made the contacts with any new dealers outside the London area. It would not have been consistent with his personality. However it would be consistent with McLean's and certain arrangements were probably made by the ailing dealer in Godward's behalf. By January 8th of 1908, with Lucilia, Godward began to work directly with Messrs. Richard Haworth (1864-1946) of 25 Preston Road, Blackburn in Lancashire, northern England.169 Haworth's biography was interesting. He had earlier worked for another art dealer, but upon breaking a plate-glass window, he was sacked on the spot. He had become so popular in the area for his honesty and good spirits that two cotton manufactures set him up in business in 1884. His art dealing career was a long and successful one lasting until 1946.170
To the east lay a posh spa-town, Harrogate in Yorkshire, frequented by the textile magnets of Blackburn and manufacturing tycoons elsewhere in the north, wishing to "partake of the waters." Together the two cities formed a formidable marketing area for Godward's work. It is likely that McLean had made accommodations with dealers in Harrogate as well as in Blackburn. That dealer was Messrs. Francis Michael Evans (1855-1937) proprietor of the "Art Galleries" from 1881. By at least 1891 it was located at No.32 then in 1893 at No.6--8 Parliament Street in Harrogate.172 He had an oil, In the Land of Dreams as early as July of 1905 and about one per year subsequently.173 He published a volume on English art a year later, entitled, A Rough Sketch of the British School of Painting which unfortunately stopped too early to really include our artist.174 Because of its exclusive wealth, it was natural for Evans to sell Godward paintings in the beautiful resort city of Harrogate in Yorkshire.175 Later a Messrs. Henry J. Mullen of 44 Parliament Street in Harrogate sold Godward's art in the 1920's. He seems to have acquired artwork by Godward from the Harrogate area and sent it directly to Christie's auction in London. He dealt the artist's oils, Daphne (1908) in 1925, Cynthia (1909) in 1925, Lassitude (1910) in 1928, Cassotis (1914) and By the Blue Ionian Sea (1916), and Tender Thoughts (1918, watercolour) in 1924. He does not seem to be a major "primary market" player in Godward's professional career, but more of a 'picker' or a 'punter' buying artwork in the country then putting them in auctions. Alexandria Gallery in Harrogate, owned by Barker & Sons, was named after the Princess of Wales who often frequented the spa-town. The gallery also dealt Godward's art and by the 1970's Sutcliffe Fine Art did the same. Joseph MaConnel began his art dealing career in Harrogate by the 1940's. After working many years with M. Newman in London he teamed with Mr. Raynor and became Raynor-MaConnel in London, today known as MaConnel-Mason. In 1908 several pictures grasp our attention. The first is an oil, Crytilla, known only by the fact that it was Godward's last entry into the New Gallery Summer Exhibition in London in June of 1908. The purchaser of the picture, Mr. W. H. Churton of Chester wrote to Godward asking, "You have not answered my question as to how you came to select the name of Crytilla. Perhaps you will kindly let me know."176 It is not know what his response was, neither do we know in what manner he chose the titles for his pictures. It is assumed that he had a classical lexicon of Greco-Roman names and chose female names at random. The oil seems to be one of the first dealings by Cremetti after acquiring the McLean gallery. He writes to Godward noting, "I have great pleasure in sending you herewith a cheque for £25, being the price of the copyright of the picture Crytilla."177 In Godward's mind the copyright on his pictures were extremely valuable and constituted a major source of money to the artist. This particular picture was reproduced in a larger black and white print and a small colour illustration.178 The letter continues, "I return you herewith the statement signed by Mr. McLean." We do not know the contents of this statement but it undoubtedly meant something regarding the artist's working relationship with the galleries previous owner. There seems to be an interim time, between January and September of 1908 that the McLean gallery was in limbo. By the end of the year, however, Eugene Cremetti was firmly Godward's only London dealer.
One of the most successful paintings of the year was his A Grecian Girl (1908). If the high-chroma contrasts of Ismenia offended, then this oil would be a study in colour and tonal consonance. A tondo shaped canvas of a sitting girl with her hands clasping her knees, the white dress, pale lavender stola against a subtly variegated marble are both harmonious and expressive. Few of the artist's paintings have wrapped such feeling into such a translucent bundle. The number of 20 X 16 inch canvases depicting the head and shoulders of Classical beauties increased dramatically in 1909. Pubescent innocence portrayed in gorgeous girls is displayed in his Bellezza Pompeiana and A Classical Beauty. These oils have an immediate charm sometimes lost in his larger compositions. Feminine intelligence, sensitivity and comeliness are often best found in these, less ambitious, Godward paintings. At least ten were painted in 1909. It is impossible to relate the obscure titles, Aglaea, Aurelia, Lysilla, Phylacis, and Phrallis, etc., with known pictures having dubious titles, A Grecian Beauty or A Grecian Lovely. His At the Thermae (1909) is a rare nude of a standing woman half-draped in pale green and vibrant crimson, leaning against coloured and sculpted marble. While innocuous in itself, when viewed against the artist's oeuvre, the painting is very "matter of fact" in its depiction of the nude torso of a woman. The idea of it being in a Roman bath and painted so reservedly, pulls the picture back from being mere titillation for the eyes. | |
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