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Lot Essay
Darning Day is archetypal Godward, embodying those qualities of luxe, calme et volupte that we have come to associate with the artist. A seamstress sits at work on a marble bench; coloured fabric lies folded or in pleated coils along its length. The seat appears to extend along the perimeter of a rooftop or upper storey, as the Mediterranean can be seen stretching beyond. The height of the sitter's vantage point makes her seem particularly free from care, and the atmosphere of serene contentment is enhanced by the clear light.
Darning Day dates from 1913, the year after Godward's relocation to Rome (it is contemporary with Cleonice, lot 4). The composition can be traced to a drawing, bearing the generic title Sewing Lady (see V. Swanson, John William Godward: The Eclipse of Classicism, 1997, p. 105). Godward often sketched his model from life, and then reviewed his drawings, before selecting a good image and posing the model again for a longer duration in order to work upon the oil version. The artist changes his composition very little here, though there is a length of fabric draped over the back of the bench in the sketch.
Seamstresses appear in Godward's work on a number of occasions: examples included Sewing Girl (1889), On the Balcony and Sewing on the Balcony (both 1898); Girl in classical drapery seated upon a wall sewing (1899) and The Seamstress (1901).
We are grateful to Professor Vern Swanson for his help in preparing this catalogue entry.
For other paintings by John William Godward, please see lots 4, 26 and 30.
Darning Day dates from 1913, the year after Godward's relocation to Rome (it is contemporary with Cleonice, lot 4). The composition can be traced to a drawing, bearing the generic title Sewing Lady (see V. Swanson, John William Godward: The Eclipse of Classicism, 1997, p. 105). Godward often sketched his model from life, and then reviewed his drawings, before selecting a good image and posing the model again for a longer duration in order to work upon the oil version. The artist changes his composition very little here, though there is a length of fabric draped over the back of the bench in the sketch.
Seamstresses appear in Godward's work on a number of occasions: examples included Sewing Girl (1889), On the Balcony and Sewing on the Balcony (both 1898); Girl in classical drapery seated upon a wall sewing (1899) and The Seamstress (1901).
We are grateful to Professor Vern Swanson for his help in preparing this catalogue entry.
For other paintings by John William Godward, please see lots 4, 26 and 30.