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Samuel Palmer 1805-1881
British
Samuel Palmer Galleries
English painter, draughtsman and etcher. Palmer was a key figure of English Romantic painting who represented, at least in his early work, its pastoral, intuitive and nostalgic aspects at their most intense. He is widely described as a visionary and linked with his friend and mentor William Blake, though he stood at an almost opposite extreme in his commitment to landscape and his innocent approach to its imagery. He had none of Blake irony or complexity and was inspired by a passionate love of nature that found its philosophical dimension in unquestioning Neo-Platonism.
Samuel Palmer Self-Portrait mk52
c.1826
Black chalk heightened with white on buff paper
29.2x22.8cm
Ashmolean Museum,Oxford
Painting ID:: 32780
X
Samuel Palmer A dream in the Apennine mk47
Watercolour and bodycolour
660x1016mm
Painting ID:: 32805
X
Samuel Palmer Coming frome Evening mk81
Church 1830
Painting ID:: 32855
X
Samuel Palmer The Waterfalls,Pistil Mawddach mk81
North Wales 1835-5
Painting ID:: 53884
X
Samuel Palmer Home from aftonsangen mk234
1830
30x20cm
Painting ID:: 56197
X
Samuel Palmer landscape with repose of the holy family mk247
1825,oil and tempera on panel ,12.25x15.375 in,31x39 cm,ashmolean museum,oxford,uk
Painting ID:: 62448
X
Samuel Palmer Self-Portrait 1825 Black chalk heightened with white on buff paper, 291 x 229 mm Ashmolean Museum, Oxford This extraordinary self-portrait the artist drew around 1825, with hollow and haunted eyes, seems an attempt to understand the processes at work within him and projected on to the pages of his sketchbooks. Author: PALMER, Samuel Title: Self-Portrait Form: graphics , 1801-1850 , English , portrait
1805-1881
British
Samuel Palmer Galleries
English painter, draughtsman and etcher. Palmer was a key figure of English Romantic painting who represented, at least in his early work, its pastoral, intuitive and nostalgic aspects at their most intense. He is widely described as a visionary and linked with his friend and mentor William Blake, though he stood at an almost opposite extreme in his commitment to landscape and his innocent approach to its imagery. He had none of Blake irony or complexity and was inspired by a passionate love of nature that found its philosophical dimension in unquestioning Neo-Platonism.
