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| J.W. Godward: the Eclipse of Classicism, by Vern Grosvenor Swanson, Phd |
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Nineteen ten emerged as one of the best years for Godward as an artist. While only an average number of pieces were painted, they were of superlative quality. John William's Idle Hours (1910) continued his highly successful series of circular [tondo] paintings. The model is confined to a narrow stage, only about five foot deep, thus creating a startling immediacy and trompe l'oeil effect. While the subject is minimalist the variety of materials, textures, colours and shapes are myriad. Together they form an agreeable gestalt.
In 1910 William Wontner and his wife, Jessie, moved from their home at 26 Edwardes Square in Kensington to reside at Godward's home at 410 Fulham Road.182 The Year's Art for 1910 notes that Wontner lived in Godward's studio at 410 Fulham Road that year.183 The purpose of this move is unclear, except that they were friends and the studio house at the bottom of the garden was vacant. The move probably would have inconvenienced Godward very little because of the size of the home and his own preference for the garden studio. Wontner undoubtedly rented it from Godward by the middle of the year for the roll-call of electors usually took place in Autumn. According to his family, Wontner was nearly destitute the last thirty years of his life, and apparently rented the house and studio for a pittance.184 He was undoubtedly responsible for caring for the home in anticipation of Godward's planned absence to Italy. Records show that the Wontner's stayed at this address until the Spring of 1921.185 The two artist friends living in such proximity for a year must have had a beneficial influence on both painters. William Clarke Wontner's work became much more Godwardesque for his extended stay in John William's house. Such pictures as The Purple Scarf and The Basket of Anemones (both from 1913) and his Green Beads and On the Balcony (both of 1914) show the depth of this obsequious influence. Precedent for this is found in Ford Maddox Brown's influence on the young Pre-Raphaelite artists and then being influenced back again. Godward's absentee influence on Wontner's work while he was away in Rome was significant. Because of the premises' Greco-Roman ambiance and the assorted Godward canvases still remaining in the studio at 410, Wontner had ample opportunity to be swayed by his former student's art. Godward's characteristic classical figures standing against marble architectural settings become more pronounced in Wontner's work. He also examined Godward's drapery and paint surface and brings his own work into closer alignment with them. It should be mention that often the translation had its bizarre discrepancies, vis., hairdos, dress and architecture. Changes were also happening all around him. Just up the street at No. 416 Fulham Road, Cuccioli & Co., the bronze founders opened in 1910. No. 452a and 454a Fulham Studios now begin to fill with Italian artists, mostly sculptors. Then in 1914 the bronze foundry was purchased by Frederick Mancini. Mancini kept the foundry until it was purchased by another Italian Mario Manenti in 1925, becoming a part of the Italian Villas [Chelsea Studios]. Starting in 1910, Godward made several trips to Rome, attempting to secure housing and a studio. He seems to have remained in London for most of 1911. It does not seem to be a family trait to do remarkably 'sudden' things and the decision and final removal to Italy may have been achieved through a series of moves throughout the 1910-12 period. Godward's 'slow burn' relationship with his Italian model probably precipitated the relocation, but it didn't seem to have happen all at once, but rather in intervals.
Godward's "Will he'er comeback again?" (1911) sensitively evokes an episode of the heart. A young Roman maiden looks out to sea for the return of her lover. As with Noonday Rest the artist shades the face of the model with a fan, softening an otherwise hard-edge painting. The efflorescence of the orange dress is delicately contrasted against the steel purple of the stola, again announcing Godward's willingness to push colour harmonies to the brink. Even before Godward left for Rome in 1910-12 the art scene in Britain had changed remarkably from its former unified Victorian self. These changes conspired to rob John William of what little reputation he still possessed. Fragmentation of the art community and the alienation of artists from society was well along by 1911. Advanced artists began to lose contact with the public, burning brightly, producing art about art, rather than about contemporary life and showing subversion to any idealistic artistic impulse. Of course, this was an area where the Classical subject painters equally failed as well. With the founding of the Camden Town Group in 1911, modernist British painting was fully established. Then in 1913-14 came the abstract geometric structural art of Vorticism. The resurgence of hyperbolist Modern art fed from French sources, Alma-Tadema's death in 1912, the Great War of 1914-1918, and Poynter's demise in 1919, saw Classicism's near total collapse, a theme continued in chapter twenty-three. | |
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It is possible that Godward hurried from London for Italy by late Autumn of 1911. The records for the Borough of Fulham note that he was at his No. 410 Fulham Road address in 1910, but not for 1911.187 A death notice in The Connoisseur magazine notes in January of 1923, that "Mr. Godward went to live in Italy ten or more years ago..."188This and other information could place the date of departure at about 1911-12. However, two facts tend to take the date of his final departure toward June of 1912. Firstly, Godward usually received letters of copyright from his dealer Messrs. Eugene Cremetti. We doubt if the Mary Frederica Godward collection of these letters are complete, but they are quite replete. Throughout 1911, of fourteen known paintings, twelve have attendant letters of copyright.
Sometime in June, on the eve of John William's definitive farewell for Italy, he gave his sister Nin all his copyright letters to date, saying "Keep these they will be valuable insurance for you!"190 She was separated from her husband and had a young daughter at this time and it was John William's way to help his loving sister to help her. He figured that since he was receiving about £20 to £30 for each copyright it would provide financial security for Nin.191 Alternately, Godward might have left for Rome in April-May of 1912, finishing the three pictures there. The last three letters might have been sent to his old address, before Cremetti got his Rome address. Nin picked them up and added them to her pile of copyright letters at that time. The second item helping us to place his departure to June of 1912, is that the signature on his paintings from Italy are often complemented by an inscription on the verso, saying "Rome." None are known before 1912, thus leading us to believe that he didn't paint in Rome before that year. The move did not have any visible effect on his painting. It is impossible to tell his Chelsea from his Roman period, for his work seems to be painted in a state of suspended animation. Why he left his home and studio for the vagaries of Rome is not known. Leaving London was not particularly a wise career move for Godward in the sense that England was and remained the market for his art. In fact it does not seem that Godward ever sold his art in Rome. No work has turned-up in Italy, which didn't come via England.192 Leaving London would have diminished his ability manage his reputation. In any case, by 1911-12, Godward was already "out of the loop" in any critical sense. London was becoming ever more hostile toward the classical-subject painting.193 On the other hand it might have been considered a solid marketing tool by Cremetti to say that Godward's 'Roman' pictures actually came from Rome. This would lend an element of authenticity, which could be touted to English buyers. The artist might have felt that Rome would both inspire him and appreciate his art more than London town. Ivy Godward simply said he went to Italy because he "liked Rome very much."194 Perhaps, like Ryland, he found the "country agreeable free from impressionists."195 Italy has been an intoxicating blend of ancient, medieval, renaissance and baroque cultures, irresistable to the artist. There was in Rome, Florence and Naples a modest school of Classical artists which still drew praise from more retardaire Italian audiences. It is not known if Godward was associated with any classical-subject painters while in Italy, but they constituted a major part of the conservative artistic milieu of the day. Donatella Trombadori suggests that before her father moved to the Villa Strohl-Fern in Rome, that there were numerous Classical artists working there.196 Perhaps he was a welcome addition to their rather exclusive coterie. Roberto Bompiani (1821-1908) was the father of the modern archeological classical-subject painters in Rome. While he died before Godward came to stay in Rome, his influence was very strong in producing a believable picture of ancient life. His son, Augusto Bompiani (1852-1930) while painting much fewer classical-subjects also had some authority in this area. Other Roman painters in the classic genre included: Luigi Bazzani (1836-1927) the Eugè:ne Galien-LaLoue of 'real-life' street scenes of ancient Rome and Pompeii. His archaeological specificity was analogous to Alma-Tadema. Edoardo Ettore Forti (fl.1880's-1920's) was an important painter of festive life in antique Rome. These two artists differed from Godward in that the former was an archeological reconstructionivist while the latter painted multiple figured action scenes.
Other names that dot the classical-subject painter's roster in Rome during the time of Godward, include: Vincenzo Capobianchi (1836-1928), Erulo Eroli (1854- ?), Casimiro Tomba-Aldini (1857-1929), Domenico Pennacchini (1860- ?), Enrico Nardi (1864- ?), Pietro Gabrini (1865-1926) and Emilio Vassarri. M. Griva (late 19th cen.) painted in Rome with a Godwardesque flair as did V. Colombo in watercolour. They round out a rather thin field of little known native-born artists.198 It should be remembered that a flourishing 19/20th century school of foreign artists, like Godward, visiting or living in Rome greatly increased the number of classical-subject painters. Stephan Bakalowicz (1857- ? ) was a well known Russian painter in Rome. Henrik Siemirdazky (1843-1902) was a Polish classicist, Paul Thumann and Carl W�nnenberg were from northern Europe, while J. Alsina was a French-Spanish painter. Potentially the most significant artist on the work of Godward was Ludwig von Langenmantel (1854-1922). He worked in a similar style and subject, dying the same year as Godward. The above artists are but a fraction of those foreign painters of classical-subjects in Rome during the late 19th and early 20th centuries. At one point or another, almost every important Classicist studied or worked in Rome, including; Frederick Lord Leighton, Sir Lawrence Alma-Tadema, Sir Edward John Poynter, William Adolphe Bouguereau and Jean-Léon Gérôme, to name a few of the more eminent. Almost nothing is known about Godward's years in Italy. The Roman art scene was quickly, but belatedly, entering the 20th century. It's skyline was now blazoned by the Vittorio Immanuel monument, which it was whispered, was built by monies Great Britain had sent to relieve the sufferers of the Messina earthquake of 1910. The classical structure of the Museo Natzionale Arte Moderna was constructed on the north side of the Gardens of the Villa Borghesse in 1911, close to the Villa Strohl-Fern. Built by Cesare Bazzani as the Palace of Fine Art it represented, upon Godward's arrival, a new found dedication to conservative tastes, modern art meaning "academic" art in those days. He probably exhibited to some extent in the academic and conservative exhibitions of the Societi Amatori e Cultori [Society of Connoisseurs] in Rome.199 He undoubtedly hoped to find in Rome a respite from the drone of militant avant-garde voices, so shrill in London. Yet, because of the First Secession Exhibition in 1913, inspired by Matisse and Cezanne, this was not to be. Between 1913 and the Fourth and last Secession Exhibition in 1916, modernist "New Painting" had become an invigorating but unwelcome, for Godward at least, fact of artistic life of Rome. What he had escaped London for, quickly found its way into contemporary artistic Roman landscape. He was surrounded. A family story might explain what was the catalyst for Godward quitting London for Rome when he did. "He left in a rush, running off with his Italian model to Italy," reveals Milo-Turner, "His mother never forgave him for this breech of conduct. He shocked the family by living with his model."200 Milo-Turner continues that the family felt betrayed by him becoming an artist in the first place, "and now this!" He must have deeply loved his model as demonstrated by following her return to Italy. Not an outgoing man and insular by nature, he was undoubtedly devoted to her out of any perspective. She must have constituted a vital part of his life. A hint at her name comes from the diary of Sir William Russell Flint when that artist, with letters of introduction William Lee Hankey visited Rome in late 1912: The tragedy will be dealt with in chapter twenty. Suffice it to say, while Godward was reclusive he was not unsociable. His helpfulness to Flint must have been repeated many times during his life, though not so dramatically nor so well documented. Given that Flint and his wife came from London and were vulnerable in Rome, Godward's instincts to be helpful transcended his timidity. His niece Ivy Godward noted that he was always very kind to her and was considered very polite.202 Contrary to the families contention that he passionately "ran off" with his model, the author has another view. By 1910-12 the artist's life had shrunk in robustness dramatically. His attachment to his model, while genuine, was probably more one way rather than reciprocal. She probably provided the impetus for moving to Rome by her own desire to return to Italy. Rather than being a wildly romantic decision of the heart, the dull Godward merely followed her to Rome. This is the Godward of fact not fiction. Another reason for a May-June 1912 date for his final departure for Rome was the artist's oeuvre diminished to only nine (9) pictures that year. This was about four to six less than normal. Certainly a move of this magnitude would have taken its toll upon his prolificacy. Yet his creative efforts made up in height for what they lacked in length. Godward's rather large canvas Absence makes the Heart grow fonder (1912) marked the beginning of the artist's Roman Period. It exudes the sensuous innocence common to his work. The floral still-life of irises to the right reinforces the claim that Godward was a trompe l'oeil painter of great facility. While being more "mindless" than most of his work, the picture is an attention getter and show stopper. Another painting along the same vein was Godward's best work of the year, A Tryst. As in so many of the artist's pictures the model glances toward the spectator, thus drawing one into the reality of the scene. This time she shades her eyes, making the whole 'proposition' more subtle. The still-life element of the full blooming poppies, creating a trompe l'oeil effect is dazzling. The bloom is repeated in the oleander above, while the creamy cafe au lait colour of the maiden's dress is harmonious with the suntanned marble ledge. As mentioned above, the artist did not seem to change in style or technique during this time. But he now began to employ fruit as a content element. Once in Italy Godward became more interested in still-life. Perhaps because of his ability obtain fresh fruit in Italy, Godward began to paint more of it in his pictures. Many studies were painted directly from life. A rare insight from Flint explains something about Godward's personality: One such painting was a circular oil entitled, The Last Bunch (1912) which depicts a young fruitseller on a marble bench trying to peddle her last bunch of grapes. Another from 1912 was Godward's marvelously painted canvas, Reverie in which the vendor stands beside a basket full of ripe dark purple grapes. A number of still-life studies of fruit was also painted on panel during the 1912-13 period. Godward, by 1912 also begins to do more plein-aire landscape painting. One of the earliest was his Red Flowering Almond study. As the landscape began to become a larger percentage of his canvases he responded, or visa versa, to this element. While only about six landscape studies are available to us. This area of the artist's oeuvre seems to have had some influence on the continuing quality of his 'commercial' work. | |
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