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.  Related Paintings of Samuel Palmer :. | Cornfield by Moonlight,with the Evening Star | Evening | The Comet of 1858,as Seen from the Heights of Dartmoor | The Willow | Oak Trees,Lullingstone Park |
Related Artists:
Arthur Loureiro
Australian, 1853-1932,Portuguese painter. He was a naturalist painter. His early training was at the Academia de Belas-Artes, Oporto, and in 1876 he went to Rome where he became a pupil of Francisco Pradilla Ortiz. In Italy he devoted himself to landscape painting. He exhibited in Paris at the Exposition Universelle (1878) and in the Sociedade Promotora de Belas-Artes in Lisbon (1880). In 1879 he was given a scholarship to go to Paris, where he stayed from 1880 to 1883.
Wilhelm Schubert van Ehrenberg
1630-1676 Flemish Wilhelm Schubert van Ehrenberg Location
Tommaso Minardi
1787-1871 Italian painter, draughtsman, teacher and theorist. He studied drawing with the engraver Giuseppe Zauli (1763-1822) who imbued Minardi with his enthusiasm for 15th-century Italian art and introduced him to his large collection of engravings after the work of Flemish artists such as Adriaen van Ostade. However, Minardi was strongly influenced by the Neo-classical painter Felice Giani, who ran a large workshop in Faenza, and whose frescoes of mythological scenes (1804-5) at the Palazzo Milzetti he saw being painted. In 1803 he went to Rome on an annual stipend provided by Count Virgilio Cavina of Faenza (1731-1808), and he received (1803-8) additional financial assistance from the Congregazione di S Gregorio. He was given the use of Giani's studio and through him met Vincenzo Camuccini who, with Canova, dominated the artistic establishment in Rome at that time. Although Minardi learnt the precepts of Neo-classicism from Camuccini, he did not share his interest in heroic art. His first works done in Rome show his interest in the theme of master and acolyte. In Socrates and Alcibiades (1807; Faenza, Pin. Com.), for example, he has included himself among a group of elderly philosophers and young students who are placed on either side of a portrait bust of Zauli. He sent this drawing to his patrons, the Congregazione di S Gregorio, no doubt to reassure them of his aptitude and moral correctness. Supper at Emmaus (c. 1807; Faenza, Pin. Com.) was another painting destined for the same patrons. The confined pictorial space, with a single source of light entering through a small window, and the casual poses of the figures are reminiscent of Flemish art and of the works of the northern Caravaggisti, familiar to the artist through engravings.