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2. artvee.com › dl › harvestingHarvesting by Samuel Palmer - Artvee

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   He could not afford to have a daily newspaper delivered to Redhill, suggesting that his financial circumstances there were still tight. Samuel Palmer died in Redhill, Surrey, and is buried with his wife in Reigate churchyard. Read more.

3. gallerix.org › album › NGASamuel Palmer – Harvesting National Gallery of Art (Washington)

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   National Gallery of Art – Samuel Palmer - Harvesting C. 1851. Watercolor and gouache over graphite with scratchingout and touches of gum arabic on paperboard, Overall: 37.8 x 51.5 cm. Samuel Palmer (British, 1805 1881). Credit: Courtesy National Gallery of Art, Washington.

4. www.tate.org.uk › art › artworks‘The Harvest Moon: Drawing for ‘A Pastoral Scene’‘, Samuel ...

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   A Hilly Scene. Samuel Palmer. c.1826–8. On display at Tate Britain part of Historic and Modern British Art.

5. artsandculture.google.com › asset › harvestingHarvesting - Samuel Palmer — Google Arts & Culture

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   Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

6. collections.britishart.yale.edu › catalog › tms:414The Harvest Moon - YCBA Collections Search - Yale University

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   Samuel Palmer was one of the most innovative artists in the early nineteenth century, producing visionary works that were inspired by his deep religious faith. This small picture of harvesting by moonlight encapsulates Palmer’s romantic vision of country life.

7. www.nga.gov › collection › art-object-pageArt Object Page - National Gallery of Art

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   Samuel Palmer. Harvesting, c. 1851. Not on View. Medium. watercolor and gouache over graphite with scratching-out and touches of gum arabic on paperboard. Dimensions. Overall: 37.8 x 51.5 cm (14 7/8 x 20 1/4 in.) mat: 55.9 x 71.1 cm (22 x 28 in.) Credit Line. Gift of The Brown Foundation, Inc., Houston. Catalogue Raisonné. Lister 1988, no. 504.

8. People also ask

   How did Devon affect Samuel Palmer?

   • The Devon scenery made an important impact on him, and, as his son, A.H. Palmer, later recalled, 'even before he had explored it, [it] seems to have commended itself to my father's affections, and afterwards became his ideal of English Scenery' (A.H. Palmer, The Life and Letters of Samuel Palmer, 1892, p.55.)

   The Harvest Moon: Drawing for ‘A Pastoral Scene’ - Tate

   www.tate.org.uk/art/artworks/palmer-the-harvest-moon-drawing-for-a-pastoral-scene-n03699

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   Why did John Palmer like Virgil and Milton?

   • Like Blake, Palmer particularly admired the poetry of Virgil and Milton. Palmer was drawn to Milton’s evocations of nature, especially the effects of the moon, in which both he and Blake saw a spiritual message. Does this text contain inaccurate information or language that you feel we should improve or change?

   The Harvest Moon: Drawing for ‘A Pastoral Scene’ - Tate

   www.tate.org.uk/art/artworks/palmer-the-harvest-moon-drawing-for-a-pastoral-scene-n03699

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   Who influenced John Palmer?

   • Palmer's works of this period are characterised by a deliberate archaism or primitivism and stylistically they were influenced by the work of such fifteenth and sixteenth century Northern European artists as Dürer, Breughel, Lucas Van Leyden and Giulio Bonasone, as well as Blake.

   The Harvest Moon: Drawing for ‘A Pastoral Scene’ - Tate

   www.tate.org.uk/art/artworks/palmer-the-harvest-moon-drawing-for-a-pastoral-scene-n03699

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   What is a typical landscape in Palmer's oeuvre?

   • Typical of this period in Palmer's oeuvre, it represents a pastoral landscape: a shepherd and shepherdess tend their flock of sheep in the foreground, while harvesters gather up the glowing ripe corn in the fields and a crescent moon rises in the distance.

   The Harvest Moon: Drawing for ‘A Pastoral Scene’ - Tate

   www.tate.org.uk/art/artworks/palmer-the-harvest-moon-drawing-for-a-pastoral-scene-n03699

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9. www.metmuseum.org › art › collectionSamuel Palmer | The Shearers | The Metropolitan Museum of Art

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   In this painting, made while Palmer was living in the village of Shoreham in Kent, a radiant landscape enfolds a group of hard-working shearers: the men wrestle the sheep while the women gather their wool.