Samuel John Peploe

Scottish Painter, 1871-1935,Scottish painter. He studied at the Royal Scottish Academy schools from 1893 to 1894, and then at the Academie Julian and Acad?mie Colarossi in Paris, where he shared rooms with Robert Brough. The influence of the rustic realism of French painters and of the Glasgow Boys is clear in landscape drawings and paintings executed in Edinburgh from the mid-1890s. His still-life studies reveal the influence of the work of both Manet and Hals, which he saw in European galleries, with their combinations of thick impasto and fluid brushwork, dark background, strong lighting and meticulous handling of tones. Between 1900 and c. 1910, when he moved to Paris, he painted in Edinburgh, on sketching holidays in Scotland and in northern France with John Duncan Fergusson, and exhibited in Edinburgh, Glasgow and London.


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Samuel John Peploe Self-Portrait oil


Self-Portrait
Painting ID::  39312
Self-Portrait
mk147 c.190 Scottish National Gallery of Modern Art.
mk147 c.190 Scottish_National_Gallery_of_Modern_Art.
   
   
     

Samuel John Peploe Barra oil


Barra
Painting ID::  39314
Barra
mk147 1903 Scottish National Gallery of Modern Art Edinburgh
   
   
     

Samuel John Peploe Etaples oil


Etaples
Painting ID::  39317
Etaples
mk147 c.1906 Scottish National Gallery of Modern Art
mk147 c.1906 Scottish_National_Gallery_of_Modern_Art
   
   
     

Samuel John Peploe Park Scene oil


Park Scene
Painting ID::  39318
Park Scene
mk147 1910 Kirkcaldy Museum and Art Gallery
mk147 1910 Kirkcaldy_Museum_and_Art_Gallery
   
   
     

Samuel John Peploe Ile de Brehat oil


Ile de Brehat
Painting ID::  39322
Ile de Brehat
mk147 1911 Scottish National Gallery of Modern Art.
mk147 1911 Scottish_National_Gallery_of_Modern_Art.
   
   
     

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     Samuel John Peploe
     Scottish Painter, 1871-1935,Scottish painter. He studied at the Royal Scottish Academy schools from 1893 to 1894, and then at the Academie Julian and Acad?mie Colarossi in Paris, where he shared rooms with Robert Brough. The influence of the rustic realism of French painters and of the Glasgow Boys is clear in landscape drawings and paintings executed in Edinburgh from the mid-1890s. His still-life studies reveal the influence of the work of both Manet and Hals, which he saw in European galleries, with their combinations of thick impasto and fluid brushwork, dark background, strong lighting and meticulous handling of tones. Between 1900 and c. 1910, when he moved to Paris, he painted in Edinburgh, on sketching holidays in Scotland and in northern France with John Duncan Fergusson, and exhibited in Edinburgh, Glasgow and London.

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