Charles Leickert. Part 3 – the middle and latter years.

View on the Ij with Amsterdam in the Background by Charles Leickert (1848)

…………………..In hindsight, Leickert’s decision to move away from The Hague in 1848 and base himself in Amsterdam was probably a brave decision but it paid off as the next twenty years are looked upon as his best period. The finely drawn details in his works and his use of the chiaroscuro technique was looked upon by the critics as masterful. One of the first paintings he did after his move to Amsterdam was View on the Ij with Amsterdam in the Background. The setting is a view from the grounds around the tollgate on the north shore of the IJmuiden, a body of water, formerly a bay, in the Dutch province of North Holland. It was a favourite place of artists, and the Amsterdam public were always willing to buy such depictions.

Winter op het IJ voor Amsterdam by Charles Leickert (1849)

Many artists depicted similar scenes and in fact Leickert completed several versions of this painting, including one with the same view but in a winter setting, entitled Winter op het IJ voor Amsterdam (Amsterdam in the Winter with the Setting Sun), which can be seen at the Rijksmuseum. It was painted from the same viewpoint at slightly different stages of sunset. Both paintings depict the same barn, house, and figure group to the left-hand side. However, the most notable difference is that the Rijksmuseum painting is set during winter and it depicts people skating on the frozen river. These two works are masterpieces in the way they depict a highly detailed analysis of light and colour, and the atmospheric fluctuations between the seasons and times of day. These were aspects of overriding importance to Leickert. Leickert left his mentor Schelfhout when he moved from The Hague to Amsterdam and began to be “his own man” as far as his artwork was concerned. An art critic at the 1850 Rotterdam exhibition which included Leickert’s winter variation of the painting commented on the work and Leickert’s newly-found independence:

“…Leickert has long managed to situate himself outside the school of Schelfhout – that is, to learn to observe with his own eyes. His view of Amsterdam in the Winter with the Setting Sun is one of those paintings at which one must gaze for a long time to recover, as it were all that is surprising and alluring about a sunset in December. The sky has a particularly divine effect, being harmoniously rendered and incontrovertibly one of the most handsome of the Exhibition…”

The “divine effect” mentioned by the critic alludes to the strong Romantic evening light depicted in the painting. In the work look how Leickert has the setting sun lighting up and colouring the sky in red, orange, and lilac tints. The setting of the painting was typical of Leickert. He often chose riverbank scenes which were full of human activity. He himself often lived in houses which were close to river or canal banks, such as the Rokin, in the centre of Amsterdam.

Fisherfolk on the Beach near Scheveningen by Charles Leickert

Having lived in both The Hague and Amsterdam he would have visited the coast on many occasions especially the fishing village of Scheveningen. Although Leickert will always be remembered for his cityscapes and landscapes he did paint coastal scenes. One such work was Fisherfolk on the beach near Scheveningen, the setting and type of depiction was very popular with artists.

Self portrait by Charles Leickert (1852)

We think of Leickert as a painter of enchanting scenes whether it be a riverscape, landscape or cityscape but the one facet of his talent is somewhat surprising – that of a portraitist, although he never contemplated this genre as a professional alternative to landscape painting. His 1852 Self Portrait was a triumph of tonal modulations used in the facial depiction. Look at how Leickert use of light on the skin and dark areas, as well as the clever way in which he shapes the background by the use of varying tones. What is Leickert trying to achieve with this portrait? What does he want us to take away after viewing the painting? Look at the way he is both well-groomed and well-dressed. Look at his facial expression – serious and somewhat imposing. What he has achieved with this depiction is a portrait of a professional and successful man, one who has gained success professionally as an artist and attained social acceptance. There is even a hint of elitism in his demeanour.

A Cappricio View of Utrecht by Charles Leickert

Leickert’s landscapes and cityscapes focused on life as it was and he rarely added to his depictions anything which signalled the changes that were taking place. He shied away from modernity. His paintings concentrated on picturesque towns and ageless, unspoilt landscapes. Such depictions had the wistful feeling of Romanticism.

At the ‘koek en zopie’ in a Panoramic Winter Landscape by Charles Leickert

I love his portrayal of the frontages of the old Dutch streets. I love how he instils in the viewer a sense of warm cosiness and contentment as we look at a winter scene with the refreshment stall on the ice. An example of this is his 1892 painting entitled At the ‘koek en zopie’ in a Panoramic Winter Landscape.

Numerous Skaters near a koek-en-zopie on a FrozenWaterway by a Mansion by Charles Leickert (1892)

Koek en zopie (cookies and hooch!) were refreshment stalls on the ice which sold cakes and biscuits as well as hot alcoholic drinks. The strange quirk of why these stalls were on the ice and not on the land was because if they had been positioned on the mainland there would have been a tax levied on their products. Nowadays these small stalls sell drinks such as split pea soup and hot chocolate. Another painting by Leickert which featured the koek en zopie was entitled Numerous Skaters near a koek-en-zopie on a Frozen Waterway by a Mansion.  On the frozen water, we see villagers engaged in their daily routines. For some, whom we see skating, it is leisure time whilst others in the depiction are using the ice to transport goods. A house with a snow-covered step gable can be seen on the right of the painting. This tall structure forms a vertical compositional element and is echoed in the two windmills and the mast of the small boat which appears to be stuck in the ice. Look at how Leickert has accurately depicted the ice with all the scratches in its surface made by the skaters and sleighs. Look at how Leickert has depicted the sky. It is masterful with variance of colours, different tones of pink, blue and grey added to which are the dark clouds. The warm colours for the sky contrasts and enhances the whiteness of the snow which emphasises the coldness of the winter day.

A Frozen Canal with a Peasants by Charles Leickert

In 1859, forty-three-year-old Leickert leaves Amsterdam and travels to Germany where he journeyed down the Rhine valley calling at Rudesheim and later Mainz where he stayed for some time – time enough to meet, fall in love with, and on September 29th, within the year of their first meeting, marry thirty-six-year-old, Apollonia Schneider. The couple returned to the Netherlands in 1861, settling for a year in Frederikstraat in The Hague before returning to Amsterdam, where his drawings and paintings drew the attention of King Willem III.

Winter Scene with Figures by Charles Leickert

Over time Leickert’s paintings became less popular as they were beginning to be looked upon as old fashioned and the new painters of The Hague and Amsterdam could command prices three-times as high as his were sold for. In 1887, Leickert, then seventy-one years of age decided to end his artistic career, left The Netherlands, and returned with his wife to Mainz, where twenty-eight years earlier, they had married.

Figures on the Ice Unloading a Sledge by Charles Leickert

Charles Leickert died in Mainz on December 5th, 1907, aged ninety-one. His obituary notice stated he was a widower with no children and it is believed that his wife Apollonia had died a few years earlier. Leickert was a prolific artist producing approximately seven hundred paintings, of which he only exhibited about eight-five.

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Most of the information for the three blogs on Charles Leickert came from excellent 1999 book entitled Charles Leickert 1816-1907: Painter of Dutch Landscape by Harry J Kraaij

 

Posted in Art, Art Blog, Art History, Charles Leickert, Cityscapes, Dutch painters, Landscape paintings | Tagged , , , , , , , , , , | Leave a comment

Charles Leickert. Part 2 – The influences of Andreas Schelfhout, Wijnand Nuyen and Charles Rochussen

 

 

Portrait of Charles Leickert by Charles Pieneman (1853)

…………………………………………In 1834, whilst attending the The Hague Drawing Academy Leickert gained a First Prize in the Third Grade which allowed him to enter the studio of Wijnand Nuyen. It was also at this establishment that he attended classes in architecture and ornamental drawings which was a perfect artistic grounding for him and proved a great help when he went on to paint his cityscape depictions.

River Landscape with Ruins by Wijnand Nuijen

A fellow student and friend of Charles Leickert from The Hague Drawing Academy Wijnand Nuijen opened his own atelier in 1833 and sometime later, in the mid 1830’s, it is known that Leickert worked there. It was through Nuijen that Leickert, although he carried on with his cityscape depictions, became more interested in the painting of nature. Dutch landscape paintings became very popular in the nineteenth century and there was a great demand for works depicting rivers and windmills. Many looked upon this painting genre as being a testament to the greatness of their country and the oneness with God. The nineteenth century Dutch merchant and poet, Reijer Hendrik Someren, in his lecture to the Rotterdam Drawing Society in 1830 summed up this feeling when he talked about:

“…Vaderlandsche goede zeden, Vaderlandsche genoegens, Vaderlandsche huiselijkheid…”
(Fatherlandish virtues, Fatherlandish pleasures, Fatherlandish domesticity)

It was the belief that nature and God are as one. It was a pantheistic view that all reality is identical with divinity.

Ice Merriment Near a Mill by Andreas Schelfhout

Leickert’s time with Nuyen did not last long as the latter died in 1839, at the young age of twenty-six. After the death of his mentor Leickert went to the studio of Andreas Schelfhout, an artist who had once taught Nuyen. Nuyen had married one of Schelfhout’s daughters and it was incumbent on Schelfhout to take on his late son-in-law’s atelier and his pupils. Schelfhout at the time was one of the highest paid artists of The Hague, one of the most influential Dutch landscape artists of his century and one of the most sought-after teachers.

Winter Scene by Charles Leickert (1867)

Leickert flourished as a painter under the mentorship of Schelfhout. Schelfhout and been known for his wonderful landscapes and certainly influenced Leickert and his first winter landscape was greeted by an art critic who stated:

“…Mr C Leycert, of The Hague, demonstrates with a winter scene with some buildings that he has turned the lessons of his master to good use…”

A Village Along A River, A Town In The Distance by Charles Leickert (1880)

Despite that first winter landscape work Leickert’s first love was always for summer landscapes. Although the landscapes were his own work, critics were often keen to point out the influence of Schelfhout on the depiction. One river scene of his which was shown at an exhibition was commented upon by the art critic of the art newspaper, Kunstkronijk, wrote of this influence:

“…A river view by M. Leickert, in The Hague, is well drawn and painted, soft and charming in tone, in the manner of Schelfhout, whom he fortunately seems to be emulating…”

However, there were other critics who thought that this copying of Schelfhout’s style was not beneficial to Leickert and wondered if it were not for Schelfhout, Leickert’s works may not even exist, one wrote:

“…Would not the handsome work by C. Leickert be less pleasing if we were less accustomed to the winter views by Schelfhout?…”

Maybe such implied criticism was to be expected as Schelfhout was adored by critics and the public and many were annoyed that Leickert was merely copying the great man’s style. However, for Schelfhout, Leickert was the most gifted of his pupils and probably the copying of his style by his pupil may have endeared him more to the master.

Summer River View by Charles Leickert (c.1847)

Over time Leickert liked to produce landscapes which incorporated stretches of water, whether it be lakes or rivers. They were characterised by pale hues. Take for example his painting Summer River View which he completed around 1847 and is now housed in the Douwes Gallery in Amsterdam. Look at the colours used for the sky and water. Look how many different tones of blue and grey  he has used and these are contrasted by the golden/sandy tones of the shore. Our eyes are always drawn to the red colour in a painting and in this case, we immediately note the red roofs of the houses in the middle ground but we are also drawn to look at the launching of the boat because one of the men pushing the boat towards the water wears a bright red jacket. From there our eyes wander further into the depiction towards the white-sailed boat which is moored across the river, behind which is a castle in the background. It is a fascinating work and one which makes us carefully search the painting so that we do not miss any of the details. This painting, like many of Leickert’s landscapes, incorporate a certain amount of staffage. Staffage, in painting, are the human and animal figures depicted in a scene, especially a landscape, that are not the primary subject matter of the work, but in the case of Leickert the staffage was always subservient to the landscape and there were rarely any facial expressions seen on the small characters. For Leickert, it was all about the beauty of the landscape.

Park in the Vicinity of Paris by Charles Rochussen (1848)

Leickert was twenty-five years old when he first journeyed outside his homeland, a year after he was released from the Civic Orphanage in 1841. He visited Germany with his fellow painters Carl Eduard Ahrendts and Charles Rochussen, a former fellow student of Nuyen. He often collaborated with Rochussen with his landscape work arranging for Rochussen to add the staffage in his landscape depictions.

The Frozen River by Charles Leickert

By the mid-1840’s Leickert’s paintings had increased in popularity and he was starting to accumulate money from their sales. Having left the orphanage he moved to rented accommodation in Nieuwe Molstraat which was in the neighbourhood where he had spent his early childhood. It is thought that he may also have, by this time, his own studio.

Pulchri Studio, The Hague

In 1847, we know that Leickert was involved with the formation of the Pulchri Studio that year, as his signature was on the Pulchri Studio Regulation. The Pulchri Studio, which I mentioned in my blogs about Hendrik Mesdag,  was established in 1847.  It is a Dutch art society, art institution and art studio based in The Hague. It was modelled on the successful artist colony of Barbizon south of Paris in the forest of Fontainebleau and still exists today. The chairman of this organisation at its inception and for a number of years was Leickert’s old mentor Bartholemus van Hove.

A Summer View on Overschie by Charles Leickert (1870)

In 1848 Leickert left The Hague and moved to Amsterdam. So why did he move as we know his paintings were selling well in the city? Maybe the reason was that Leickert, along with many of Schelfhout’s pupils, were churning out numerous landscape works and Leickert may have believed that the landscape market in The Hague was reaching saturation point. Maybe he also wanted to go out on his own and break away from Schelfhout. Whatever the reason, Leickert left The Hague and rented a house in Kalverstraat in Amsterdam which he shared with Rochussen. From there, their collaborative work continued. He became a member of the Amsterdam art society Arti et Amicitiae (art and friendship) which was founded in 1839 and still exists today. Historians have made a comparison between the art establishments of Pulchri Studio in The Hague and the Arti et Amicitiae society in Amsterdam and believed the latter to be classier, which was just as Leickert liked. Later, in 1856 he became a member of the Royal Academy of Drawing of Fine Arts of Amsterdam and became a member of the Board of Governors of the Academy.

……………………………. to be concluded

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Most of the information for the three blogs on Charles Leickert came from excellent 1999 book entitled Charles Leickert 1816-1907: Painter of Dutch Landscape by Harry J Kraaij

Posted in Art, Art Blog, Art History, Charles Leickert, Cityscapes, Landscape paintings | Tagged , , , , , , , , | Leave a comment

Charles Leickert. Part 1. The early years, influences and tutors

Charles Leickert by Nicolaas Pieneman (1853)

My featured artist today and over the next two blogs, is the Dutch nineteenth century landscape painter Charles Henri Joseph Leickert. His painting genre was also often associated with another artistic “-ism”, that of Romanticism. But what is Romanticism when used as a description of an artist’s work. In his 1950 book De Romanesken, the Dutch art writer, Frans Hannema described Romanticism in art as:

“…A great emotive stirring of the heart; an all enveloping expansion of feeling; a controllable urge for the whimsical, the grotesque, the fantastic and the eerie; a boundless desire and self-imposed hardship; a fantastic devotion and passionate contempt; an unfathomable nostalgia for the transience of all happiness and for the inconstancy of all things; a flight from circumscribed reality to the interminable dream: these are the fiercely jostling and often contradictory emotions with which the soul of the Romantic individual is affected…”

Two Undershot Watermills with Men Opening a Sluice by Jacob van Ruysdael (1650s)

However, Romanticism in art was not that evident in Dutch paintings of the time. The leading Romantics of the nineteenth century were the Frenchman, Théodore Géricault, and Eugene Delacroix and the German Caspar David Friedrich. Dutch paintings in the early nineteenth century were generally limited to landscapes and cityscapes. The favourite Dutch artists of the time were from the bygone days of the seventeenth century such as Jan van Goyen, Salomon van Ruysdael, Jacob van Ruisdael, and Isaac van Ostade. Unlike the Romantic depictions of forests and waterfalls depicted in Jacob van Ruysdael’s works, Leickert preferred to depict everyday Dutch village and river scenes with their picturesque embankments or winter scenes featuring frozen canals on which people would be seen skating, and the frozen rivers and canals would often be overlooked by windmills. However, the Romantic title associated with Leickert was probably due to his ability to saturate his scenes with what is almost a supernatural light which was so prevalent in his depictions especially those featuring the evening sun.

Ice Merriment Near a Mill by Andreas Schelfhout

So why is Leickert not a well-known Dutch artist? Some historians believe the answer lies with his character. He was a shy person and often hid his light under the proverbial bushel. The bushel being his mentor and teacher, Andreas Schelfhout, whose shadow Leickert was pleased to remain under. The subject of Schelfhout’s works was very similar to that of Leickert or maybe that should be seen the other way around! Andreas Schelfhout was a Dutch painter, etcher, and lithographer, known for his landscape paintings. Schelfhout belonged to the Romantic movement and his Dutch winter scenes with frozen canals and skaters were already famous during his lifetime.

Charles Leickert was born on September 22nd, 1816 in Brussels. His parents were, his father Henricus Michael Leickert who had been born in Wittendorf, Germany in 1781 and his mother, also German-born, Henrietta Frederique Martilly. Leickert’s parents, who were married in Berlin, lived there until 1815, at which time with the defeat of Napoleon at the Battle of Waterloo and the subsequent ending of the First French Empire, the French were driven out of the Netherlands and Leickert’s father, mother, and his eldest sister, two-year-old, Louïze Frederica, moved from Berlin to Brussels.

Summer Landscape by Charles Leickert

Leickert’s father gained employment as the King’s chamberlain (valet de chambre) at the court of King Willem I. At this time, and until 1820, the Kingdom of the Netherlands had twin seats of government, The Hague in Northern Netherlands, and Brussels in Southern Netherlands and so Henricus Leicker, as part of the royal entourage, had to move with his family backwards and forwards from one city to the other. In 1816 Charles Leickert was born in Brussels while some his younger siblings were later born in The Hague. Finally, around 1820 The Hague was designated as the sole capital of The Netherlands and the Leickert family made their home there. With the defeat of Napoleon and the ending of the French annexation of the Netherlands thousands of people came to live in the country and the population of The Hague swelled. The surge in population led to housing shortages, poor sanitation and disease which led to a large rise in infant mortality. The Leickert family were hit hard losing most of their children before they reached adulthood, some due to typhoid and tuberculosis and his three-year-old brother died of his burns in a fire.

View of the Old Women and Children’s Hospital in The Hague by Bartholomeus van Hove (1830)

Charles Leickert managed to survive and when he was just twelve years old, because he was showing talent as an artist, his father enrolled him into The Hague Drawing Academy in 1827. The tutor who had the most influence on Leickert was the Dutch landscape and cityscape painter, Bartholomeus van Hove. In 1828, a year after his enrolment, Charles Leickert’s father Henricus died. The cause of death was given as verval van krachten which simply means a decline in strength which seems very unusual as Henricus was just forty-five years old, but it could have been “part and parcel” of the poor sanitary conditions of the city at the time. Leickert’s mother Henrietta was left to bring up the family but struggled financially as her poor health meant she could not work. She pleaded successfully with the art academy to give her son artistic tuition for free, a decision which says a lot for Leickert’s talent. With no money to pay the mortgage, the king stepped in and bought the house of his one-time servant and Henrietta, along with Charles and his two sisters, Adelheid and Barbara, moved into rented accommodation. The health of Leickert’s mother continued to deteriorate and she eventually died in 1830.

Winter Landscape by Charles Leickert (c.1860)

Charles Leickert’s mother was a great believer in her son’s talent as an artist and she wrote a short poem in one of his sketchbooks as a testament to her belief that one day he would become a great painter. A translated version of her poem is:

Accept this booklet, little Lijket
And fill it with sweet studies
Improve your judgement, and the little heart
That burns with love so sweet for art
With little skills, free from small sorrows
May life flit by till death draws nigh.

Walk in the little field and in small nature
Observe and draw each little hour
Every little object, be it great or small
And great you shall one day be as artist.

Charles then 14 years of age, Adelheid aged 10 and Barbara aged 12 were placed in the Civic Orphanage. Their older sister Louïze, who was eighteen, had her own home as a live-in domestic. Although being consigned to an orphanage seems harsh, it had its benefits. Sanitation was good, the children were inoculated against infections which were killing many children at the time and they were fed and clothed. Life in fact for the children was quite good, and for Charles, being the son of the former First Chamberlain to the King, he was allowed to carry on his art lessons at the Drawing Academy. Art played a part in the orphanage and the children were encouraged to try out art and the most talented would attend painting classes which were funded by charitable bequests.

Winter Scene by Charles Leickert (1867)

It is known, through his biographer, Johannes Immerzeel, that Charles Leickert’s first art teacher was Bartholomeus van Hove who ran a flourishing studio as well as teaching at The Hague Drawing Academy. Whilst under van Hove’s tutelage, Leickert honed his drawing skills and the art of chiaroscuro. The term chiaroscuro derives from the two words chiaro bright (< Latin clārus) + oscuro dark (< Latin obscūrus) and describes the prominent contrast of light and shade in a painting, and how the artist by managing the shadows is able to create the illusion of three-dimensional forms.

…………….. to be continued


Most of the information for the three blogs on Charles Leickert came from excellent 1999 book entitled Charles Leickert 1816-1907: Painter of Dutch Landscape by Harry J Kraaij

Posted in Art, Art Blog, Art History, Charles Leickert, Cityscapes, Landscape paintings, Romanticism | Tagged , , , , , , , , | Leave a comment

Josefina Holmlund

Just in case you haven’t read my previous blog featuring the Welsh artist,  Sally Moore, let me explain why this blog, like the previous one, is much shorter in length than my usual ramblings.

When I decide on a subject for my blog I look for three criteria to be met.  Firstly, and on a personal note, I need to be interested in the person or their art.  Secondly, I need to be able to find enough information with regards the life of the artist and their family upbringing and lastly, I need to have enough copies of their works to be able to populate the blog.  Without all three criteria, I tend to reluctantly disregard the artist as the subject of my blogs.  Having said this blog and the last one featured two artists but  did not meet with all the criteria – the missing criterium is the limited information I have about their life, but because I liked their work so much I decided to feature them albeit in much shorter blogs.  Today I am looking at the life and work of the nineteenth century Swedish landscape painter, Josefina Holmlund.

Josefina Holmlund

Josefina Holmlund was born in Stockholm in 1827.  Her parents were Nils Holmlund and Johanna Helena Holmlund (née Torsslow) and she had one sister, Jeanette.  Josefina trained as a painter and studied under Teodor Billing, a former student of the Royal Academy of Fine Arts in Stockholm who was a realist landscape painter and who depicted many scenes from Skåne, Lapland and Värmland.  Her other tutor in those early days was Olof Hermelin, who was an ardent advocate for national Swedish values ​​and became a prominent portrayer of the domestic landscape mainly in Uppland and Södermanland

Vaxholm fortress by Josefina Holmlund

In the 1850’s, Josefina attended the Royal Academy of Fine Art in Stockholm where one of her professors was Edvard Bergh who started his career in law but later studied at the Royal Academy in Stockholm.  He founded the landscaping school at the Royal Academy and this school was characterised by the Swedish landscape painting of the time.  The fact that Josefina studied art at the Academy is unusual as the establishment did not officially allow entry for women before 1864.

In 1863, aged thirty-six, she travelled to Dusseldorf and went to live with her sister Jeanette.  Jeanette Holmlund who was also a painter had married the Norwegian landscape painter Nils Björnsson Möller.  Whilst living with them Josefina became influenced by her brother-in-law’s art.  She continued with her artistic studies and became strongly influenced by the “Dusseldorf School of painting”, which referred to a group of painters who either taught or studied at the Düsseldorf Academy of Art in the 1830s and 1840s, when the Academy was directed by the German Romantic painter Wilhelm von Schadow. The work of the Düsseldorf School is typified by finely meticulous yet imaginary landscapes.  Such landscapes often had religious or allegorical stories set in the landscapes. Members of the Düsseldorf School were great believers in plein air painting, and tended to use a palette with relatively subdued and even colours. that was a national romantic emphasis that depicted dramatic nature scenes, waterfalls and rapids with rocks.

Mountain Landscape with Rapids by Josefina Holmlund

Josefina captured the starkness of life in the mountains and the ferocity of the rapids in her painting, Mountain Landscape with Rapids in which we see the fast flowing water of the rapids fall spectacularly over a waterfall at the side of which is a small, log-built cottage, with smoke billowing from the chimney.  By the side of it a lady, laden with wood she has collected heads home.

The Düsseldorf School emerged as part of the German Romantic movement.  Depictions by these artists had a national romantic emphasis that depicted dramatic nature scenes, waterfalls and rapids with rocks.  One can see in some of Josefina Holmlund’s paintings the influence of the Dusseldorf School.

She went on to make many trips to Holland, Norway and Scandinavia and the breath-taking countryside she discovered during her many journeys featured in her landscape works.

Josefina Holmlund never married and died in 1907, aged 78.

Fjord Landscape with Farm by Josefina Holmlund (1870)

Many of her landscape paintings featured the breath-taking “V” shaped fjords such as Fjord Landscape with Farm, the one she completed in 1870.  There is a beautiful tranquillity about this depiction.

Fjord Landscape by Josefina Holmlund

Another painting of hers which I like is one featuring the tranquillity of the fjord which has lost its “V” shape as it is further from its source and closer to the sea.  In this work we see a steamer, puffing out smoke from its tall funnel as it chugs across the wide expanse of water.  In the right foreground we see a man making his way down to his row-boat.  On the bank of the fjord on the right mid-ground of the painting we can just make out a man and woman standing next to their boat and boathouse.

Kustbild med Båt (Coastel Scene with Boat) by Josefina Holmlund (1879)

Josefina painted a beautiful and evocative sunset scene in 1879 entitled Kustbild med båt, (Coastal scene with boat).  Dark storm clouds almost obliterate the setting sun the rays of which force their way through to create a golden halo on the surface of the fjord.  Despite the prospect of an on-coming storm, a small sailing ship in the foreground sets out on its perilous journey.  In the left mid-ground we see a small cottage perched on the rocky bank of the fjord. Look at the myriad of colours, such as silver, greys and gold, she has used in depicting the water.

On the Bridge by Josefina Holmlund

Her ability to depict water with shimmering reflections is palpably shown in her painting entitled On the Bridge.

Sommarlandskap med Gärdesgård Intill en Väg by Josefina Holmlund (c.1855)

As well as her paintings of the fjords and lakes she completed many works featuring the countryside.  One of my favourites is Sommarlandskap med Gärdesgård Intill en Väg (Summer Landscape with Fence next to a Road) which she completed around 1855.

Cottage in the Woods by Josefina Holmlund (1879)

Often her countryside landscapes featured family life as in the case of her 1879 painting, Stuga vid skogsbryn (Cottage in the Woods) which is a depiction of idyllic life in the woods devoid of the noise and pollution of city life.  I think it is her portrayal of what life should be like.

Hide and Seek by Josefina Holmlund

Happiness attained from life in the woods is once again brought to the fore in her painting entitled Kurragomma (Hide and Seek), which combines the beauty and serenity of nature with the laughter and playfulness of three children as they amuse themselves with the game of hide and seek.

Village Street by Josefina Holmlund

Another work of hers which I like for its simplicity is Village Street.

In my next blog I am going to look at the life and works of Charles Leickert, the nineteenth century painter of the Dutch landscape.

Posted in Art, Art Blog, Art History, Female artists, Female painters, Josefina Holmlund, Landscape paintings, Swedish artist | Tagged , , , , , | 4 Comments

Sally Moore

Catnapping by Sally Moore

When I decide on a subject for my blog I look for three criteria to be met.  Firstly, and on a personal note, I need to be interested in the person or their art.  Secondly, I need to be able to find enough information with regards the life of the artist and their family upbringing and lastly, I need to have enough copies of their works to be able to populate the blog.  Without all three criteria, I tend to reluctantly disregard the artist as the subject of my blogs.  Having said all that, the next two blogs feature artists who did not meet with all the criteria – the missing criterium in both cases was the limited information I had about their lives, but because I liked their work so much I decided to feature them albeit in much shorter blogs.

All at Sea by Sally Moore

In this blog, I am looking at the work of a living surrealist artist and as I told you in an earlier blog about another living artist, Neil Simone (My Daily Art Display – May 24th 2017), who coincidently could also be classed as a surrealist, I try and avoid blogging about painters who are still alive, for fear of upsetting them!!!  My featured artist today is the Welsh-born surrealist painter Sally Moore.

Still Waters by Sally Moore

Although my favourite art tends to be landscapes, seascapes, and genre paintings I am fascinated by surrealist art and I am mesmerised by the thought process which goes into the depictions.  The Tate’s short description of the term surrealism encapsulates the very essence of the art form:

“…A twentieth-century literary, philosophical and artistic movement that explored the workings of the mind, championing the irrational, the poetic and the revolutionary…”

One of the most famous surrealist artists was the twentieth century Italian artist, Giorgio de Chirico and his take on surrealism was:

“…Although the dream is a very strange phenomenon and an inexplicable mystery, far more inexplicable is the mystery and aspect our minds confer on certain objects and aspects of life…”

Bittersweet Offerings by Sally Moore

Sometimes it is a mistake to compartmentalise art or the works of an artist and maybe Sally Moore would not want her art to be categorised as Surrealism and perhaps she would be unhappy that I am typecasting her as a Surrealist painter.  If so, I apologise in advance and just say that her exquisite depictions are quirky, amusing and cleverly thought out.

 Sally Moore was born in Barry, South Wales in 1962. She studied art at the Ruskin School of Art, in Oxford.  The Ruskin School of Art dates to 1871, when John Ruskin, the leading English art critic of the Victorian era, as well as an art patron, draughtsman, and watercolourist, first opened his School of Drawing. Sally subsequently won a scholarship to study at the British School in Rome.

Head with Bees by Sally Moore (1996)

Her paintings from the very start of her career were popular with both the critics and public alike and, early on, she won awards at the National Eisteddfod.  More awards soon followed including one for her painting Head with Bees at the 1996 Discerning Eye Exhibition in London.  The Discerning Eye Exhibition differs from many other exhibitions as six selectors (judges) make their choice of small works as their interpretation of the best of contemporary British art and each selected section is hung separately so that there may be a distinct identity with its combination of established and less established or even unknown artists.  The Discerning Eye has one limitation and that is the paintings must be small in size giving more artists a chance to exhibit and also allowing the works to be small enough to be bought, carried back under arm and hung in any home or office space. Each judge was asked to pick over half of his selection from less established names.  Her painting was selected as winner by artist and art critic, William Packer, one of the six judges/selectors.

This Charming Man by Sally Moore

In 2005, she won the Welsh Artist of the Year Award.

Her artworks are painstaking in style and much time is spent on the detail and this of course limits her output and thus the number of solo exhibitions she has held.  She says she often has a umber of works on the go at the same time.   I was fortunate to go to her exhibition the other week at the Martin Tinney Gallery in Cardiff, which contained sixteen of herpaintings.  Although small in quantity, the quality of the work was excellent and the subjects fascinating.

Fishy Business by Sally Moore

The one aspect of her work you will soon notice is that she includes herself in most of her paintings!

Home Histrionics by Sally Moore

Not all her paintings feature humour and in two of her works she looks at the state of people’s minds and behaviour when they are experiencing a personal trauma.  In two of her works, Beneath Suspicion and Home Histrionics, she looks at the behaviour of people, who we have all come across at some time, people who seem to revel in their catastrophes, to such an extent they almost seem to flourish on it. In a way Home Histrionics ridicules such characters.

Beneath Suspicion by Sally Moore

When asked whether she based the depictions on somebody she knew, she answered:

“…They are loosely based on a friend of mine who enjoys complex relationships with men and follows a specific pattern of destructive behaviour.  She gets herself in these ludicrous situations and seems to relish the drama it creates, when it’s all driven by fake emotion…”

Captive by Sally Moore

My favourite work by Sally Moore is the quirky painting entitled Captive.

Her work is probably best summed up by her fellow Welshman and Visual Artist, Keith Bayliss, who commented:

“…Sally’s paintings are intriguing, there is a drama being enacted, a story unfolding. Sometimes the stage set is a domestic one, or an everyday scene, a seemingly familiar and therefore reassuring picture. We are drawn in as eager observers, only to realise that we have become participants in the story.

Her work displays an interest in, and a deep knowledge of, three visual art traditions, the Narrative, the Surreal and the Symbolic, marrying all together through her use of highly personal imagery. Her paintings are painstakingly crafted, taking months to produce one glowingly detailed art work. The paintings are icons of magical realism, the known with the mysterious. In making art she is making sense of the world and we, in viewing the work become part of that process, part of the drama…”

But maybe I should leave the last word to the artist herself when she describes what she wants to achieve through her work:

“…Each painting is a mini psychological drama, often absurd, sometimes surreal and invariably humorous. I hope that my paintings may both unsettle and amuse the viewer…”

To find out more about Sally Moore and her art have a look at her website:

https://sallymoorepainter.co.uk

and in the “About” page there is a video which she made in 2013 in collaboration with film-maker Mark Latimer entitled The Domestic Surrealist which documents Sally’s thought processes which goes into each of her works of art.

 

 

 

Posted in Art, Art Blog, Art History, Female artists, Female painters, Surrealism, Welsh artists | Tagged , , , , , , | 2 Comments

The ter Borch family

Gerard ter Borch the Elder by Moses ter Borch (1660)

Today I am looking at a dynasty of Dutch artists – the ter Borch family.  The head of the family was Gerard ter Borch the Elder who was born in Zwolle in 1583.  At the age of eighteen he travelled to Italy and stayed in Rome and Naples for the next eleven years drawing and painting local landscapes.  On his return to his home town of Zwolle he married Anna Bufkens and five years later, in 1617, she gave birth to their son Gerard.

The Sacrifice of Abraham by Gerard ter Borch the Elder (1619)

During his final years in Italy and after his return to The Netherlands, many of the paintings by Gerard ter Borch the Elder featured scenes from the Bible, one of which was his 1619 painting entitled The Sacrifice of Abraham.

Head of a Girl by Gerard ter Borch the Elder (1628)

Gerard ter Borch the Elder was a talented draughtsman and this can be seen in his drawing, Head of a Girl, which he completed around 1628 and is thought to be a portrait of Sara, his daughter (by his second wife) who was four years old at the time.

Head of a Little Girl Wearing a Necklace by Gerard ter Borch the Elder (c. 1630)

Ter Borch the Elder, like many artists of the time used family members as their models and again we can see an example of this in another of his pen and ink drawings entitled Head of a Little Girl Wearing a Necklace.

Little Girl at a Table Holding a Slice of Melon by Gerard ter Borch the Elder (1630’s)

A third example of Ter Borch’s draughtsmanship is his 1630’s work entitled Little Girl at a Table Holding a Slice of Melon.  This small (12 x 9cms) drawing is done using black chalk, brown ink washes and black ink.  The brown wash is used to shade one side of the girl’s face and to cover the background. This wash reinforces the effect of light falling on her face and her clothing. The girl stares off to the right of the painting at something which is fascinating her. Other items of food lie in front of her. She is dressed simply, wearing a wide white collar over her dress.  Her hair is tied behind her head with a bow, but some loose strands have escaped and lie across her forehead.

In the late 1630’s Gerard ter Borch the Elder almost gave up his painting although he did oversee the artistic education of his children.

Self Portrait of Gerard ter Borch the Younger (1688)

The eldest of the Ter Borch children was Gerard ter Borch the Younger, the only child from his father’s first marriage to Anna Bufkens, and I suppose if I was to talk about a Dutch artist by the name of ter Borch you would probably assume that I was referring to Gerard ter Borch the Younger as he was probably the most accomplished member of this talented and prosperous Dutch artistic family.  He was born in Zwolle in 1617. His mother died when he was just four years old and was looked after by his father.  Gerard Junior proved to be a talented painter even before his teenage years. In 1632, he went to Amsterdam to study painting and two years later, when he was seventeen years old, he went to Haarlem to study with the painter and engraver Pieter de Molijn and there, he entered the Guild of St Luke of Haarlem the following year.

The Suitor’s Visit by Gerard ter Borch the Younger (1658)

In 1635 ter Borch the Younger travelled to London where he worked alongside his uncle, Robert van Voerst, the royal engraver of Charles I.  Many of his travels took him to Italy, France and Spain, the latter visit being an invitation to the Spanish royal court to produce a portrait of King Philip IV which gives you an idea as to how highly he was thought of as an artist.  Ter Borch received a knighthood and a gold chain and medal from the king of Spain for his artistic efforts.

The Ratification of the Treaty of Münster, 15 May 1648by Gerard ter Borch the Younger (1648)

Around 1646 Gerard Ter Borch the Younger was living in Münster, Westphalia, and it is here he completed one of his most famous paintings, The Swearing of the Oath of Ratification of the Treaty of Münster which can be seen in the National Gallery in London. The Treaty of Munster, which was signed in May 1648, was a momentous time in the history of The Netherlands as it finally recognised the country’s independence. This treaty and the treaty signed in Osnabruck ended the Thirty Years’ War between 1618 and 1648 in the Holy Roman Empire, and the Eighty Years’ War between 1568 and 1648 between Spain and the Dutch Republic, with Spain formally recognizing the independence of the Dutch Republic.

The oil on copper painting is set in the Ratskammer (council chamber) of the Town Hall of Münster and depicts the portraits of seventy-seven men. In the foreground, standing behind the table, dressed in black, we see the six Dutch delegates.  To the right of the table stand the two Spanish.  Both sets of men are ratifying the treaty simultaneously.  A Franciscan monk stands behind the Spaniards on the extreme right.  What appeals to me about this work is that Ter Borch has taken the liberty of including himself in the work on the far left, gazing out at us!!!!

In his earliest works, Ter Borch depicted barrack-room scenes whereas most of his later genre scenes, focused on the more refined elements of Dutch society.

An Officer Dictating a Letter by Gerard ter Borch the Younger (1658)

Gerard ter Borch the Younger was also a leading proponent of genre scenes often featuring depictions of soldiers at rest in their barracks or the local taverns.  These works were generally small and upright in format and typically depict two or three elegantly clad, full-length figures engaged in an activity such as letter writing or music making.  The depiction of letter writing was extremely popular.  The reason for this probably stems from the belief that letter writing was predominately a form of relaxation among the middle and upper classes and these social classes had expanded during this period which saw the Dutch economy prosper.  An example of this is his 1658 work Officer Dictating a Letter.  They are executed with great sensitivity of touch and show an interest in the psychology of the sitters.

Portrait of a Lady and a Girl by Caspar Netscher (1679)

Ter Borch also painted many small-scale, full-length portraits. His most important student was Caspar Netscher (Dutch, 1639 – 1684), who learned many of his master’s techniques for rendering luxurious textures and who painted, in addition to his original compositions, many signed copies of Ter Borch’s works.

The Concert, Singer and Theorbo Player by Gerard ter Borch the Younger (1657)

Later in the 1650’s he often depicted more genteel scenes featuring wealthy members of Dutch society.  One such painting was entitled The Concert: Singer and Theorbo Player which he completed around 1657 and can now be found in The Louvre.  The setting is a cosy and relaxed bourgeois interior. Hanging in the background we see a large luxuriant tapestry.  The table in the left foreground is covered by a sumptuous oriental carpet with its colourful, geometric design that appealed to northern painters and which signified the wealth of the household. The two young women in the painting are giving a musical performance.  The lady standing on the left is playing a theorbo, a plucked string instrument of the lute family.  Seated at the table is her companion who is following the score, her hand is raised as she beats the time presumably as she prepares to break into song.  On the right of the painting, and looking towards us, is a young servant who has brought the ladies a glass of beer on a tray.

A Maid Milking a Cow in a Barn by Gerard ter Borch the Younger (c.1654)

Another genre work from around 1654 by Gerard ter Borch the Younger was A Maid Milking Cows in a Barn.   In the barn, we see a young woman squatting down in the process of milking a brown and white spotted cow. Another cow stands close by, waiting its turn. This work is a classic example of the ability of the artist to expertly depict different textures.  Look at how he has portrayed the various objects dotted around the foreground of this work such as the jaggedly sculpted stool and the wooden basin which is filled with water.  Look too at the chipped ceramic crock pot, and the shiny metal hinges of the buckets. The painting is housed in the Getty Centre, Museum East Pavilion in Los Angeles

Jan van Duren by Gerard ter Borch (1667)

Gerard ter Borch the Younger also painted many small-scale, full-length portraits such as the pendant portraits he completed around 1667 of Jan van Duren, a member of the upper ruling class of the Dutch town of Deventer and his wife Margaretha van Haexbergen.  Van Duren is dressed in the opulent clothing one associated with an affluent regent and in the other work, his wife is equally well adorned.

Margaretha van Haexbergen by Gerard ter Borch the Younger (1667)

In both cases the background is bare which avoids anything that may have detracted from the subject/patron and in the same way, the settings are minimal with just a simple velvet covered table, atop of which is a hat, in one and a fringed velvet chair in the other.  The overall appearance of both portraits is one of simplicity, elegance, and dignity.

Gerbrand Pancras, Formerly Known as Hendrick Casimir II, Prince of Nassau-Dietz by Gerard ter Borch the Younger (1670)

Another of Gerard ter Borch’s portraits is one entitled Gerbrand Pancras, Formerly Known as Hendrick Casimir II, Prince of Nassau-Dietz which is housed mat the Manchester Art Gallery.  The three-quarter length, three-quarter right-side portrait is of a young man dressed in blue and silver clothes which are decorated with pink ribbon.  The man stands looking out at us, some would say condescendingly, with a silver-topped walking stick in his right hand whilst his left-hand rests on his hip. Lying to the side of him is a table, covered by a red cloth, on which is a black hat dressed with a white feather. The inscription states that he is 12 years old.

Anna Bufkens, the first wife of Gerard ter Borch the Elder and the mother of Gerard ter Borch the Younger died in 1621, aged 34.  Shortly after the death of his first wife, ter Borch the Elder re-married.  His second wife was twenty-two-year-old Geesken van Voerst.  The couple went on to have two daughters, Anna in 1622 and Sara in 1624.  It was around this time that Gerard Snr’s painting output declined although he would still afford his children artistic training.   He also assumed the position held by his aged father, Harmen, the Licencemaster of Zwolle, a position Gerard ter Borch the Elder would hold for about 40 years until his death.

The Milkmaid by Gesina ter Borch (1669)

Seven years later, in 1628, Gerard ter Borch the Elder’s second wife died aged just twenty-nine years of age.  Following shortly on from her death, forty-five-year-old Gerard married for a third time.  His third wife was twenty-one-year-old lady from Deventer, Wiesken Matthys.  There seems some doubt about how many children they had ranging from five to ten but I found that they had a daughter Gesina in 1631, a daughter Catharina in 1634, a son Harmen in 1638, a third daughter Jenneken in 1640 and a son Moses in 1645.  There was also talk about another son Mattijs but I cannot find a birth date for him.

Gesina ter Borch was born on November 15th, 1631 at the family home in Sassenstratt in the town of Zwolle, where she would live all her life.  She was the eldest child of Gerard ter Borch the Elder and his third wife, Wiesken Matthijs.  When her father died in 1662 and her brothers had left home, she lived in her parental home with her mother, sister Catharina and her late sister, Jenneken’s three children.  She never married.

Page from Gesina’s poetry album

Gesina became a great talent in the art of draughtsmanship and when she painted she favoured the medium of watercolours.  Her paintings which were mainly for her and her family’s pleasure and were usually small in size but vibrant in colour.  She had not received any formal artistic training except for the tuition afforded to her by her father who had also taught his sons, Gerard the Younger, Harmen and Moses.

Farmer’s wife and child in a landscape by Gesina ter Borch (1669)

Gesina over time collected her pen and ink and watercolour drawings as well as her poetry in three albums, Materi-Boeks, the first of which was begun in 1646 when she was just fifteen years of age.  Her art books were a combination of her art and her scrapbook.   She printed drawings of her family members, newspaper clippings, children’s and friends’ artwork, and many copies of her half-brother Gerard’s work and that of her brother Moses.

Moses ter Borch by Gerard ter Borch the Younger and Gesina ter Borch (1667)

The one painting she is probably best known for was her posthumous portrait of her youngest brother Moses ter Borch which is in the Rijksmuseum.  It was a collaborative work with her step brother Gerard ter Borch the Younger.  Moses, who was born in 1645 and died in 1667, aged twenty-two, during the storming of Fort Languard near Felixstowe in England. He had served in the Dutch navy which had been fighting against the English since 1664. It is a painting full of symbolism and meaning.  Time is alluded to by the inclusion of a pocket watch, death is symbolised by the skull, loyalty by the inclusion of a small lap dog looking lovingly at his master and eternity by the depiction of the ivy on the rocks. Moses ter Borch was buried in Harwich.

Moses ter Borch off the coast of Harwich by Gesina ter Borch (c.1667)

In the above collaborative portrait, one can tell that Gesina’s stepbrother Gerard probably was the greater of the two contributors to the work but a quite simplistic portrait of her brother and his death can be seen in her painting which was part of one of her albums.

Self portrait by Moses ter Borch (c.1661)

Moses himself was also an artist and when he was about sixteen years of age completed a self-portrait.

Self portrait, the so-called portrait of Jan Fabus by Moses ter Borch (1661)

He also completed many sketches, some were oil sketches like his very small (8 x 7cms) work with the strange title, Self Portrait, the so-called Portrait of Jan Fabus which he completed in 1661.

Sketch of soldiers by Harmen ter Borch (1650)

The final artist of the family was Harmen ter Borch.  He was the eldest son of Gerard ter Borch and his third wife, Wiesken Matthys and the sister of Gesina and Moses.  There are several his sketches in the Rijksmuseum including one depicting soldiers which he completed when he was just twelve years old.

Beestenconcert by Harmen ter Borch (1653)

Another, the Beestenconcert was completed in 1653 when he was fifteen years old.

The Broken Bridge by Harmen ter Borch (1655)

But probably my favourite is his colour sketch entitled The Broken Bridge which he painted in 1655 when he was seventeen years old

With such a number of artists in one family, one wonders whether family life was a very competitive environment.  Gerard ter Borch the Younger was by far the greatest of the family artists but it is good to remember that he had some talented siblings.

Posted in Art, Art Blog, Art History, Dutch painters, Gerard ter Borch the Elder, Gerard ter Borch the Younger, Gesina ter Borch, Harmen ter Borch, Moses ter Borch, Uncategorized | Tagged , , , , , , , , , , , | 1 Comment

John William Godward. Part 3 – Italy and the sad end to life.

Dolce Far Niente by John William Godward (1906)

…………………John William Godward made his first visit to Italy in 1905, a year after his father died.  He travelled around visiting the islands of Ischia and Capri.  He also journeyed around the Gulf of Naples and visited Sorrento and the historical site of Pompeii, the latter being one of his favourite places, during which time he painted many oil studies.   Probably one of his best-known works of the time is a painting he completed in 1906 entitled Dolce far Niente (Beauty doing nothing).  Like most of his paintings there is no symbolic meaning or a connected narrative to it.  We are just left to study this ageless place, with its sumptuous luminous surfaces of veined marble.  We absorb the dark red coloured, classically-inspired fabrics which adorn the body of the beautiful woman, who reclines against the lush textures of a leopard skin. Her long dark hair cascades over the marble stonework.  She seems lost in thought and her eyes are languorously unfocused as if she is daydreaming.  She is the epitome of relaxation.  Look how the undulation of her breasts, waist, hips, and legs seems to be a mirror-image of the Phlegraean Islands in the Gulf of Naples which we see in the background.

Lycinna by John William Godward (1918)

After his short stay in Italy he returned home but returned for a much longer stay setting off for Rome around May or June of 1912 and he remained in the country for eleven years.  So why did he leave his native England?  Various theories abound.  It could be that he lost his desire to paint in England as his output around this time had fallen dramatically, and yet, London was where his art was selling.  Maybe he sought Roman inspiration.  It should also be remembered that the great Classicist painters like, Tadema-Alma, Edward Poynton, Bougureau and Jean-Léon Gerôme had all studied or worked in the Italian capital.  However, a more probable reason was his love for one of his models, an Italian girl, who had grown tired of living in England and decided to return home.  Once again, we need to understand Godward’s relationship with this girl.  It was not a case of mutual love.  Godward’s love for and devotion to the woman was, sadly for him, not reciprocated.  She put up with him and was happy to accept the fees for modelling but as far as she was concerned that was all it was.

Song Without Words by John William Godward (1919)

Godward had already disappointed his family by not following the footsteps of his father and brothers into the financial world.  He had chosen, in the minds of his parents, the dubious path and lowly status of a professional artist which was looked upon as a slight on the family values.  Now the family were informed by him that he was leaving the country and going to live in Italy with his Italian model.   Can you imagine how that was greeted by his mother and siblings, especially his brothers?  A family relation, Dr, Gilbert Milo-Turner recounts:

“…He left in a rush, running off with his Italian model to Italy.  His mother never forgave him for this breech of conduct. He shocked the family by living with his model…”

Milo-Turner continued that the family already felt betrayed by him for becoming an artist, “and now this!”

An Offering to Venus by John William Godward (1912)

On arriving in Rome, Godward moved into a studio at the Villa Strohl-Fern hoping to find inspiration in the Italian capital. The Strohl-Fern had been converted into a group of artist’s studios and was close to the beautiful gardens of the Villa Borghese and the recently completed Museo Nazionale Arte Moderna.  One of the first works Godward completed whilst living in Rome was his 1912 oil painting, An Offering to Venus depicting a thoughtful priestess.   It is his homage to the Roman goddess of love.   Her voluptuous figure is barely hidden by the purple diaphanous coa vestis tunic and deep crimson stola.  Coa vestis is an ancient type of fabric named after its point of origin, the Greek island Kos and was made using the wild silk of Pachypasa otus, a Mediterranean moth.  The priestess is seen offering a vase of pink and red roses to a bronze statue of the Venus of Arles.  It is more than likely that the model Godward used for this work was the lady who travelled to Italy with him.

Girl In A Peach Dress by John William Godward

So, who was this woman who so beguiled the quietly-spoken introverted painter and turned him into a besotted suitor?  What was her name?  A clue to her identity comes from the Scottish painter and illustrator, Sir William Russell Flint who recalls meeting Godward in Rome:

“…I had an introduction from Lee Hankey to J. W. Godward in Rome … Godward was exceedingly kind and helpful. He knew all the ropes and didn’t mind showing us how to use them. He worked steadily at his Greek maidens in Liberty silks from a Roman model whose name in English meant “Sweetest Castaway.” This heavy-jowled beauty was a star among the models (I found them a sorry lot after Londoners), but she aimed at being taken for something better. One day at Godward’s for tea, Dolcissima, after taking a maddening time to complete her re-attirement, as last proceeded to make her dignified departure. My wife, with kind intention, called her notice to a long white thread sticking to her coat. It proved a mistake to do so because we were afterwards told that the thread had been placed there deliberately as the emblem of what Dolch thought a superior class — the dress-makers…”

Another entry in Flint’s diary hints at the tragedy which later befell Godward.  He wrote:

“…Good, kind Godward, what a difference he made to our Roman sojourn! Let these grateful words mask a tragedy…”

Absence Makes the Heart Grow Fonder by John William Godward (1912)

Godward’s completed his large canvas, measuring 131 x 80cms (51 x 32 inches), Absence Makes the Heart Grow Fonder in 1912 and this was looked upon as the start of his Roman Period. It is a beautiful painting which oozes with charm, beauty and innocent opulence which were familiar characteristics in Godward’s works.  The lady looks thoughtful and sad and by the title we are to presume that her lover has left her and maybe the ship in the background alludes to the couple’s parting.  She is dressed in a plum-coloured tunic.   Lying next to her on the marble seat is her fan.  In the foreground, Godward has included a floral still-life of irises. The flower symbolises faith, wisdom, and cherished friendship.

The Tryst by John William Godward (1912)

Another painting which incorporates a “Roman beauty” and a floral depiction was also painted in 1912 with the title The Tryst.  It is thought that, as it is the same size as Absence Makes the Heart Grow Fonder it could have been meant as a pendant piece with that work.  This painting depicts a young Roman woman dressed in a pale-yellow diaphanous tunic who is seated on a marble terrace waiting for her lover. She looks directly towards us, searching for a sign of her beloved.  The Mediterranean sun blazes down on her and she has raised her hand to shade her eyes from the dazzling brightness.   In the foreground, we see the still-life element of the painting in the form of poppies of various colours and varieties and a colourful oleander bush which acts as a great contrast to the clear blue sky.  There is probably little symbolism in their inclusion as Godward’s classical paintings centred on decorative beauty rather than tales of mythology and any narrative, which one gained from viewing the work, was probably in the observer’s mind rather than that of the artist.  Godward’s works were all about pleasure.  Beautifully adorned women in charming sunny settings overlooking the blue Mediterranean Sea, pristine marble surrounded by colourful flowers.  They all made for the perfect idyll

Still Life of Peach with Twig by John William Godward (c.1912)

Once in Italy Godward became more interested in still-life. Fresh fruit was easily accessible in market places and they appeared more and more in his paintings.  Around 1912 he completed the still life work entitled Still Life of Peach with Twig.

Seascape with Rock, Capri by John William Godward (c.1913)

Although most of Godward’s works featured single figure depictions of women in classical settings, he did complete some pure landscapes and seascapes.  An example of this from around about 1913 was his seascape, Seascape with Rock, Capri.

Nude on the Beach by John William Godward (1922)

Godward painted many nudes during his lifetime and one of his last paintings was one entitled Nude on the Beach which he completed in 1922, the year of his death.

Godward returned to England around  the early part of 1921.  He was suffering physically with insomnia and chronic dyspepsia and mentally with bouts of severe depression.  His classicism genre of painting had fallen out of favour with the public, and it said that he believed there wasn’t enough room for him and Picasso, whose art genre had become so popular.  He was all alone having been introverted all his life.  Whatever was depressing him and how he was feeling was never talked about as he had no close friends to unburden himself.  He saw no reason with continuing with life and on Wednesday December 13th, 1922 he ended his own life by gassing himself.

The Fulham Gazette coldly reported the death:

FULHAM ARTIST DEAD BEFORE BLANK CANVAS: AMAZING GAS TRAGEDY: CHEQUE FOR WORK ON DOOR!

With his head lying in a packing case and his mouth touching the turned-on jets of a gas-ring, Mr. John William Godward, an artist in oils, aged 62, was found dead on Wednesday night in his studio at Fulham. The studio is at the rear of a house 410 Fulham Road, Fulham, where his brother and sister-in-law live.  The brother of deceased, Charles Arthur Godward, a fire insurance official, living at the same address, said that his brother had been a very reserved man and lived entirely alone. On the Wednesday morning Witness [C.A. Godward] had seen him in the Garden when he seemed all right. As far as he knew deceased had not financial worries or troubles of any kind. On the previous Sunday deceased had asked him to send a telegram to his mother stating that he would not be able to go and see her as he was not feeling well.

The death of Godward was greeted by his mother and siblings not so much with outright heartbreak but with a sense of indignation which was directed at the disgrace the eldest son’s suicide had brought upon the family, so much so that his elderly mother eradicated him from all the family records, destroying any photographs she had of him. even to the point where she cropped him out of photographs in order to remove the offending sections depicting her son, John William Godward.

Sadly, by the medium of his paintings, Godward created an imaginary world to take the place of the real world he lived in and which he disliked so much.  In a way, his art was a form of escapism.  His lonely and tedious world, full of anxiety, had been, through his art, replaced with an excessively joyous one, which came in the form of his idealised paintings of a tranquil bygone era endowed with perfect peaceful beauty.  Maybe on December 22nd, 1922 Godward finally entered his own idyll, finally free from depression, loneliness, and unhappiness.

John William Godward’s grave at Old Brompton Cemetery

Godward was buried in London’s Old Brompton Cemetery which was just a hundred yards from his studio.  He had bought himself a burial plot there when his father died in 1904.  At the time of his death he was interred at this family plot along with his father and one of his sister’s, Nin’s, sons.  Godward’s mother, Sarah Eborall, lived until 1935.


Most of the information for this and my two previous blogs about John William Godward came from a 1998 book by Vern Grosvenor Swanson entitled J.W.Godward: the Eclipse of Classicism.

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