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Samuel Palmer ranks among the most important British landscape painters of the Romantic era. Marking the two hundredth anniversary of the artist's birth, this exhibition is the first major retrospective of his work in nearly eighty years, uniting some one hundred of his finest watercolors, drawings, etchings, and oils from public and private collections in the United Kingdom, Canada, Australia ...
Samuel Palmer. 塞缪尔·帕尔默（Samuel Palmer）是英国风景画家、蚀刻师和版画家。. 他也是一位多产作家。. 帕尔默是英国浪漫主义的重要人物，创作了富有远见的田园画。. 帕默出生在伦敦纽灵顿老肯特路附近的萨里广场，是一个书商的儿子，有时也是浸信会牧师 ...
Samuel Palmer (1805–1881) Tate. (b London, 27 Jan. 1805; d Redhill, Surrey, 24 May. 1881). English landscape painter (mainly in watercolour) and etcher. He was precocious, first exhibiting at the Royal Academy when he was only 14. In 1822 he met John Linnell, who introduced him to William Blake in 1824.
1 de abr. de 2024 · Samuel Palmer (born Jan. 27, 1805, London, Eng.—died May 24, 1881, Redhill, Surrey) was an English painter and etcher of visionary landscapes who was a disciple of William Blake. Palmer’s father, a bookseller, encouraged him to become a painter.
Samuel Palmer ranks among the most important British landscape painters of the Romantic Period. The first of his paintings to enter the collections of Amgueddfa Cymru is a landscape titled The Rising of the Lark. The Rising of the Lark. by Samuel Palmer. Acquired 1990; Gift; Sidney Leigh through the National Art Collections Fund.
12 de abr. de 2024 · Samuel Palmer Little appreciated in his lifetime, Palmer produced visionary pastoral paintings and is now hailed as a precursor of Modernism in the 20th Century. Palmer lived in Shoreham in a run-down cottage, ‘Rat Abbey’, between 1826 and 1835, where he created many of his most celebrated paintings, depicting the area as a mysterious paradise.
Selbstporträt, ca. 1825. Cartoon-Porträt von Samuel Palmer. Samuel Palmer (* 27. Januar 1805 in Newington bei London; † 24. Mai 1881 in Redhill, Surrey, England) war ein britischer Landschaftsmaler, Zeichner und Radierer der Romantik .
