William Clarke Wontner 1857-1930 | British Portrait of a Beauty Signed and dated "W. Wontner 1918" (lower left) Oil on canvas Classical beauty and technical precision define this painting by British Neoclassical artist William Clarke Wontner. Although his career was largely devoted to formal portraits, he is best celebrated today for his classical maidens idling before cool marble backdrops. The present work, with a singular focus on the sitter, showcases Wontner's talent as a portraitist as well as the classical vision for which he is renowned today. Entitled Portrait of a Beauty, this painting demonstrates Wontner at his most impressive. The artist is admired for his precision in rendering the surfaces of marble and the flowing movement of classical costumes. Within this perfectly composed world, Wontner heightens the inherent sensuality of his subject through a masterful use of contrast. The vivid, jewel-like tones of her flowing tunic and veil seem especially rich as they fall over her tanned skin and sit against the smooth, veined marble structure.  Wontner, along with John William Godward, is considered among the top British Neoclassical artists of his time, and in fact, the two painters enjoyed a friendship and working relationship. They became acquainted after Godward apprenticed under Wontner’s father, noted architect William Hoff Wontner, who taught him architectural rendering. William Clarke Wontner studied under Godward for a time, and his influence is easily noticed in Wontner’s Neoclassical works. Wontner exhibited his work at the Royal Academy, the Society of British Artists and the Royal Institute of Painters in Water Colours. Today, his works reside in the collections of museums such as the National Portrait Gallery (London) and the Harris Museum (Preston, UK). Dated 1918 Canvas: 25" high x 21" wide Frame: 36" high x 32" wide

English paintings, English art

William Clarke Wontner (1857-1930) ritrattista inglese ricco di classicismo accademico e romantico, nacque a Stockwell , Surrey , figlio del noto architetto, progettista e riproduttore William Hoff Wontner e Catherine Smith. Sotto la tutela di suo padre, Wontner ha lavorato con John William Godward noto esponente di quello che divenne noto come stile greco-romano . Wontner era un pittore relativamente minore che faceva parte del movimento neoclassico in Inghilterra, guidato da Alma-Tadema . Il suo stile favoriva le donne seducenti e languide contro i fondali marmorei classici o orientali. I suoi tessuti fedeli drappeggiati su modelli palesemente europei, in qualche modo hanno creato un'aria di orientalismo. Le sue opere furono esposte alla Royal Academy dal 1879, alla Society of British Artists e al Royal Institute of Painters in Water Colours . Quando la Galleria Grosvenor chiuse nel 1890, Wontner espose alla New Gallery.

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Portrait of a Young Woman William Clarke Wontner (1857–1930) Harris Museum & Art Gallery

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Ferencz-Franz Eisenhut (Hungary Painter ,1857-1903) – The Pasha’s Concubine Jean-Baptiste Huysmans (Flemish , 1654-1716) – The Beauty Mark Rudolf Ernst (Austrian Painter, 1854-1932) &…

William Clarke Wontner 1857-1930 | British Portrait of a Beauty Signed and dated "W. Wontner 1918" (lower left) Oil on canvas Classical beauty and technical precision define this painting by British Neoclassical artist William Clarke Wontner. Although his career was largely devoted to formal portraits, he is best celebrated today for his classical maidens idling before cool marble backdrops. The present work, with a singular focus on the sitter, showcases Wontner's talent as a portraitist as well as the classical vision for which he is renowned today. Entitled Portrait of a Beauty, this painting demonstrates Wontner at his most impressive. The artist is admired for his precision in rendering the surfaces of marble and the flowing movement of classical costumes. Within this perfectly composed world, Wontner heightens the inherent sensuality of his subject through a masterful use of contrast. The vivid, jewel-like tones of her flowing tunic and veil seem especially rich as they fall over her tanned skin and sit against the smooth, veined marble structure.  Wontner, along with John William Godward, is considered among the top British Neoclassical artists of his time, and in fact, the two painters enjoyed a friendship and working relationship. They became acquainted after Godward apprenticed under Wontner’s father, noted architect William Hoff Wontner, who taught him architectural rendering. William Clarke Wontner studied under Godward for a time, and his influence is easily noticed in Wontner’s Neoclassical works. Wontner exhibited his work at the Royal Academy, the Society of British Artists and the Royal Institute of Painters in Water Colours. Today, his works reside in the collections of museums such as the National Portrait Gallery (London) and the Harris Museum (Preston, UK). Dated 1918 Canvas: 25" high x 21" wide Frame: 36" high x 32" wide

A Classical Beauty, Detail. by William Clarke Wontner (1857-1930)

ΛΙΓΑ ΛΟΓΙΑ ΓΙΑ ΤΟΝ ΚΑΛΛΙΤΕΧΝΗ William Clarke Wontner (17 January 1857 Stockwell, Surrey – 23 September 1930 Worcester), was an English portrait painter steeped in Academic Classicism and Romantic…

William Clarke Wontner 1857-1930 | British Portrait of a Beauty Signed and dated "W. Wontner 1918" (lower left) Oil on canvas Classical beauty and technical precision define this painting by British Neoclassical artist William Clarke Wontner. Although his career was largely devoted to formal portraits, he is best celebrated today for his classical maidens idling before cool marble backdrops. The present work, with a singular focus on the sitter, showcases Wontner's talent as a portraitist as well as the classical vision for which he is renowned today. Entitled Portrait of a Beauty, this painting demonstrates Wontner at his most impressive. The artist is admired for his precision in rendering the surfaces of marble and the flowing movement of classical costumes. Within this perfectly composed world, Wontner heightens the inherent sensuality of his subject through a masterful use of contrast. The vivid, jewel-like tones of her flowing tunic and veil seem especially rich as they fall over her tanned skin and sit against the smooth, veined marble structure.  Wontner, along with John William Godward, is considered among the top British Neoclassical artists of his time, and in fact, the two painters enjoyed a friendship and working relationship. They became acquainted after Godward apprenticed under Wontner’s father, noted architect William Hoff Wontner, who taught him architectural rendering. William Clarke Wontner studied under Godward for a time, and his influence is easily noticed in Wontner’s Neoclassical works. Wontner exhibited his work at the Royal Academy, the Society of British Artists and the Royal Institute of Painters in Water Colours. Today, his works reside in the collections of museums such as the National Portrait Gallery (London) and the Harris Museum (Preston, UK). Dated 1918 Canvas: 25" high x 21" wide Frame: 36" high x 32" wide

ΛΙΓΑ ΛΟΓΙΑ ΓΙΑ ΤΟΝ ΚΑΛΛΙΤΕΧΝΗ William Clarke Wontner (17 January 1857 Stockwell, Surrey – 23 September 1930 Worcester), was an English portrait painter steeped in Academic Classicism and Romantic…

Ce portrait n'est pas celui de William-Clarke Wontner (car je n'en ai pas trouvé) mais celui de Frederic-William-Henry Myers (1843-1901) poète, essayiste et parapsychologue britannique peint par Wontner en 1896. C'est une huile sur toile de 572 mm x 470...

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William Clarke Wontner

William Clarke Wontner 1857-1930 | British Portrait of a Beauty Signed and dated "W. Wontner 1918" (lower left) Oil on canvas Classical beauty and technical precision define this painting by British Neoclassical artist William Clarke Wontner. Although his career was largely devoted to formal portraits, he is best celebrated today for his classical maidens idling before cool marble backdrops. The present work, with a singular focus on the sitter, showcases Wontner's talent as a portraitist as well as the classical vision for which he is renowned today. Entitled Portrait of a Beauty, this painting demonstrates Wontner at his most impressive. The artist is admired for his precision in rendering the surfaces of marble and the flowing movement of classical costumes. Within this perfectly composed world, Wontner heightens the inherent sensuality of his subject through a masterful use of contrast. The vivid, jewel-like tones of her flowing tunic and veil seem especially rich as they fall over her tanned skin and sit against the smooth, veined marble structure.  Wontner, along with John William Godward, is considered among the top British Neoclassical artists of his time, and in fact, the two painters enjoyed a friendship and working relationship. They became acquainted after Godward apprenticed under Wontner’s father, noted architect William Hoff Wontner, who taught him architectural rendering. William Clarke Wontner studied under Godward for a time, and his influence is easily noticed in Wontner’s Neoclassical works. Wontner exhibited his work at the Royal Academy, the Society of British Artists and the Royal Institute of Painters in Water Colours. Today, his works reside in the collections of museums such as the National Portrait Gallery (London) and the Harris Museum (Preston, UK). Dated 1918 Canvas: 25" high x 21" wide Frame: 36" high x 32" wide

William Clarke Wontner 1857-1930 | British Portrait of a Beauty Signed and dated "W. Wontner 1918" (lower left) Oil on canvas Classical beauty and technical precision define this painting by British Neoclassical artist William Clarke Wontner. Although his career was largely devoted to formal portraits, he is best celebrated today for his classical maidens idling before cool marble backdrops. The present work, with a singular focus on the sitter, showcases Wontner's talent as a portraitist as well as the classical vision for which he is renowned today. Entitled Portrait of a Beauty, this painting demonstrates Wontner at his most impressive. The artist is admired for his precision in rendering the surfaces of marble and the flowing movement of classical costumes. Within this perfectly composed world, Wontner heightens the inherent sensuality of his subject through a masterful use of contrast. The vivid, jewel-like tones of her flowing tunic and veil seem especially rich as they fall over her tanned skin and sit against the smooth, veined marble structure.  Wontner, along with John William Godward, is considered among the top British Neoclassical artists of his time, and in fact, the two painters enjoyed a friendship and working relationship. They became acquainted after Godward apprenticed under Wontner’s father, noted architect William Hoff Wontner, who taught him architectural rendering. William Clarke Wontner studied under Godward for a time, and his influence is easily noticed in Wontner’s Neoclassical works. Wontner exhibited his work at the Royal Academy, the Society of British Artists and the Royal Institute of Painters in Water Colours. Today, his works reside in the collections of museums such as the National Portrait Gallery (London) and the Harris Museum (Preston, UK). Dated 1918 Canvas: 25" high x 21" wide Frame: 36" high x 32" wide

ΛΙΓΑ ΛΟΓΙΑ ΓΙΑ ΤΟΝ ΚΑΛΛΙΤΕΧΝΗ William Clarke Wontner (17 January 1857 Stockwell, Surrey – 23 September 1930 Worcester), was an English portrait painter steeped in Academic Classicism and Romantic…