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(Originally posted August 1st, 2008)

Sweet Dreams (1901) By John
William Godward (1861-1922)
Godward was a younger follower of Sir Lawrence Alma-Tadema, who
was famous for the meticulous care
with which he reconstructed images
from the Classical World. Here we
have a a young woman (Roman, I
assume, judging from her clothing;
probably the unmarried daughter of a
wealthy aristocrat). The painting’s title
suggests that she is daydreaming. But
why? She seems bored or exhausted -
probably both, since the light and her
garb make us think the time of the
year is summer or maybe early fall.
Then again, maybe she is just "horny."
Well, in Godward's day, they would
have said "amorous."
There is, beneath the sumptuous
surroundings and the woman’s
posture, something else: a wanton
invitation to a sexual encounter. The posture of her arms, the slight opening of her legs, and
(most of all) the soft, pale flesh ... But this woman is not an active creature. She is desirous,
but not willing to do much. She is not alert, but she wants novelty. She is trapped in her
sweet dreams, in her luxuriant depression.
Could it be that she is what we see as the result of long-continued suffering or despair?
In my Celeste novels, it is possible to imagine the heroine as looking like this, except that she
would never have been so passive, so stifled by the environment. Then, too, Celeste’s hair is
shorter.
As for Godward himself, he was perhaps the last active artist of the “English Academic”
school; eventually he became a sort of joke. Yet his works combined both technical
brilliance and a deep sensuality, even if they were mostly confined to “reconstructions” of
Classical subjects. He was, ultimately, one of the first victims of the abandonment of affection
for Classical Antiquity. Today, except for those susceptible to a curious kind of nostalgia, he
is mostly forgotten.
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