|
See also: English painter, was See also: born at See also: Bristol in 18o6
.
Though self-taught his See also: fine feeling for colour, poetic sympathy and dramatic power gained for him a high position among See also: British artists
.
He exhibited his first See also: work in the Royal See also: Academy at the age of twenty-five, the subject being " The Well," a scene in Naples
.
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," " 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 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 prize of £300 sterling
.
After his exhibition of the " Surrender of Syon See also: House " he was elected an associate of the Royal Academy in 1846, and was made an academician in 1861
.
He died in 1879
.
See also: Poole's subjects See also: divide themselves into two orders—one idyllic, the other dramatic
.
Of the former his " May See also: Day " (1852) is a typical example
.
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 Winter Exhibition of 1883-1884
.
Among his early dramatic pictures was " Solomon Eagle exhorting the See also: People to Repentance during the Plague of 1665," painted in 1843
.
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 " Robert, Duke of See also: Normandy.and Arletta " (1848)
.
Finer examples of his more mature power in this direction are to be found in his " Prodigal Son," painted in 1869; the " 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: King of
See also: Northumberland," painted in 1868
.
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 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 " Vision of Ezekiel " of the See also: National Gallery, " Solitude " (1876), the " Entrance to the Cave of See also: Mammon " (1895), the "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 cloud See also: form
.
|
|
|
[back] MATTHEW POOLE (1624-1699) |
[next] REGINALD STUART POOLE (1832-1895) |
There are no comments yet for this article.
Do not copy, download, transfer, or otherwise replicate the site content in whole or in part.
Links to articles and home page are encouraged.