{"id":14595,"date":"2013-12-06T02:06:42","date_gmt":"2013-12-06T02:06:42","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=14595"},"modified":"2013-12-06T04:08:21","modified_gmt":"2013-12-06T04:08:21","slug":"albert-goodwins-fantasies","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2013\/12\/06\/albert-goodwins-fantasies\/","title":{"rendered":"Albert Goodwin’s fantasies"},"content":{"rendered":"

\"viriconium-goodwin.jpg\"<\/p>\n

Viriconium (Millennium\/Gollancz, 2000). Painting: The Gates of the Inferno (no date).<\/em><\/p>\n

The web continues to be an incomparable treat for anyone interested in art history. One of the great advantages of the BBC’s Your Paintings site is having the opportunity to see pictures by artists whose output would rarely be deemed important enough to appear in a book. Albert Goodwin<\/a> (1845\u20131932) is one such artist, a painter of landscapes and seascapes with a sideline in fantastic scenes, some of which may have been inspired by the apocalyptic canvases of John Martin. The cover of the Viriconium<\/em> anthology was my first sighting of anything by Goodwin. That particular painting appears to be in private hands so to date this is the only copy I’ve seen. The combination of minatory architecture and a nebulous atmosphere is just the kind of thing I enjoy so it’s disappointing to not find him producing anything similar.<\/p>\n

The paintings below show some of Goodwin’s other forays into the fantastic, mostly illustration of one sort or another. The two final pictures wouldn’t be out-of-place on a collection of William Hope Hodgson sea stories; the devastated Armada isn’t fantastical per se but it reminds me of\u00a0Hodgson’s descriptions of the Sargasso Sea.<\/p>\n

\"goodwin7.jpg\"<\/a><\/p>\n

Apocalypse (1903).<\/em><\/p>\n

\"goodwin1.jpg\"<\/a><\/p>\n

Ali Baba and the Forty Thieves (1901).<\/em><\/p>\n

\"goodwin2.jpg\"<\/a><\/p>\n

Sinbad Entering the Cavern (1879).<\/em><\/p>\n

<\/p>\n

\"goodwin3.jpg\"<\/a><\/p>\n

Sinbad in the Valley of Diamonds (1878).<\/em><\/p>\n

\"goodwin4.jpg\"<\/a><\/p>\n

The Castle of Enchantments (no date).<\/em><\/p>\n

\"goodwin5.jpg\"<\/a><\/p>\n

The Invincible Armada (1904).<\/em><\/p>\n

\"goodwin6.jpg\"<\/a><\/p>\n

The Phantom Ship (no date).<\/em><\/p>\n

Elsewhere on { feuilleton }
\n\u2022 The fantastic art archive<\/a><\/p>\n

Previously on { feuilleton }
\n\u2022 The art of Thomas Cole, 1801\u20131848<\/a>
\n\u2022 Tentacles #2: The Lost Continent<\/a>
\n\u2022 Tentacles #1: The Boats of the \u2018Glen Carrig\u2019<\/a>
\n\u2022 Covering Viriconium<\/a>
\n\u2022 John Martin: Heaven & Hell<\/a>
\n\u2022 The apocalyptic art of Francis Danby<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Viriconium (Millennium\/Gollancz, 2000). Painting: The Gates of the Inferno (no date). The web continues to be an incomparable treat for anyone interested in art history. One of the great advantages of the BBC’s Your Paintings site is having the opportunity to see pictures by artists whose output would rarely be deemed important enough to appear … Continue reading “Albert Goodwin’s fantasies”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,42,21,44],"tags":[3780,2343,2342,2291,2232,1951],"class_list":["post-14595","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-fantasy","category-painting","tag-albert-goodwin","tag-francis-danby","tag-john-martin","tag-m-john-harrison","tag-viriconium","tag-william-hope-hodgson"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3Np","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14595","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=14595"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14595\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=14595"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=14595"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=14595"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}