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See also:PAUL See also:FALCONER See also:POOLE (1806-1879)
, See also:English painter, was See also:born at See also:Bristol in 18o6
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Though self-taught his See also:fine feeling for See also:colour, poetic sympathy and dramatic See also:power gained for him a high position among See also:British artists
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He exhibited his first See also:work in the Royal See also:Academy at the See also:age of twenty-five, the subject being " The Well," a See also:scene in See also:Naples
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There was an See also:interval of seven years before he next exhibited his " Farewell, Farewell " in 1837, which was followed by the " Emigrant's Departure," " See also:Hermann and Dorothea " and " By the See also:Waters of See also:Babylon." In 1843 his position was made secure by his " See also:Solomon See also:Eagle," and by his success in the See also:Cartoon See also:Exhibition, in which he received from the Fine See also:Art Commissioners a See also:prize of £300 See also:sterling
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After his exhibition of the " Surrender of Syon See also:House " he was elected an See also:associate of the Royal Academy in 1846, and was made an academician in 1861
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He died in 1879
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See also:Poole's subjects See also:divide themselves into two orders—one idyllic, the other dramatic
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Of the former his " May See also:Day " (1852) is a typical example
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Of both styles there were excellent examples to be seen in the small collection of his See also:works shown at See also:Burlington House in the See also:Winter Exhibition of 1883-1884
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Among his See also:early dramatic pictures was " Solomon Eagle exhorting the See also:People to Repentance during the See also:Plague of 1665," painted in 1843
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To this class belongs also the " Messenger announcing to See also:Job the Irruption of the Sabeans and the Slaughter of the Servants " (exhibited in 1850), and " See also:Robert, See also:Duke of See also:Normandy.and Arletta " (1848)
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Finer examples of his more mature power in this direction are to be found in his " Prodigal Son," painted in 1869; the " See also:Escape of See also:Glaucus and Ione with the See also:blind girl Nydia from See also:Pompeii" (186o); and " Cunstaunce sent adrift by the See also:Constable of Alla, See also: More peaceful than these are the " See also:Song of Troubadours " (painted in 1854) and the " Goths in See also:Italy" (1851), the latter an important See also:historical work of See also:great. power and beauty . Of a less lofty See also:strain, but still more beautiful in its workmanship, is the " Seventh Day of the Decameron," painted in 1857 . In this picture Poole rises to his full height as a colourist . In. his pastorals he is soft and See also:tender, as in the" See also:Mountain Path " (1853), the " See also:Water-See also:cress Gatherers " (187o), the " Shepston See also:Maiden " (1872) . But when he turns to the grander and more See also:sublime views of nature his work is bold and vigorous . Fine examples of this See also:style may be seen in the " See also:Vision of See also:Ezekiel " of the See also:National See also:Gallery, " Solitude " (1876), the " Entrance to the See also:Cave of See also:Mammon " (1895), the "See also:Dragon's Cavern" (1877), and perhaps best of all in the "See also:Lion in the Path " (1873), a great See also:representation of mountain and See also:cloud See also:form . |
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