See also:English painter, was
See also:born at
See also:Bristol in 18o6 . Though self-taught his
See also:fine feeling for
See also: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 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 " Solomon Eagle," and by his success in the
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 "
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: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 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: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 "
See also:Dragon's Cavern" (1877), and perhaps best of all in the "Lion in the Path " (1873), a great
See also:representation of mountain and
See also:form .
MATTHEW POOLE (1624-1699)
REGINALD STUART POOLE (1832-1895)
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