Paul Sample's mest berømte maleri er My Bride (1929) i Smithsonian American Art Museum, Washington, D.C.. Sammen med My Bride (1929) og The Turntable udgør de de tre værker, som alle kender. Vores katalog indeholder 8 værker af Paul Sample; de 6 nedenfor er dem, som verden ser mest på, hver med årstal, det museum der opbevarer det, og hvorfor det er betydningsfuldt.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Paul Sample | Malerier fra denne liste |
|---|---|---|---|
 Smithsonian American Art Museum |
Washington, D.C. | 1 | My Bride |
Alle Paul Sample's daterede værker på denne side er fra 1929: her er de mest berømte af dem.
My Bride (1929), Smithsonian American Art Museum, Washington, D.C.. Derefter følger My Bride (1929) og The Turntable.
33 år gammel: My Bride er fra 1929, og Paul Sample blev født i 1896.
Vores katalog indeholder 8 værker af Paul Sample.
De fleste af dem findes i Smithsonian American Art Museum (Washington, D.C.). Tabellen ovenfor lister museerne enkeltvis.
I 1929: 2 af de 6 værker på denne side stammer fra denne periode, herunder My Bride.
To wander through the canvases of Paul Sample is to step into a mid-twentieth-century America that feels both intimately familiar and hauntingly nostalgic. Born in Louisville, Kentucky, on September 14, 1896, Sample’s early years were defined by a sense of movement, as his family traversed the vast American landscape. This itinerant childhood gifted him with a panoramic perspective, an ability to observe the shifting light and character of diverse regions that would later become the cornerstone of his artistic vision. Though he initially pursued architecture at Dartmouth College, it was a period of profound personal hardship that redirected his destiny toward the easel. While visiting his brother in Saranac Lake, New York, Sample contracted tuberculosis—a grueling illness that forced him into a sedentary life, yet opened the door to a transformative mentorship under Jonas Lie. Under Lie’s guidance, Sample began to master a technique that married meticulous precision with a deep, soulful connection to the natural world.
As his artistic identity coalesced, Sample found himself at the intersection of two powerful movements: Social Realism and Regionalism. His work did not merely document landscapes; it breathed life into the social fabric of the era. During the Great Depression, his paintings became poignant chronicles of rural existence, capturing the quiet dignity of ordinary people navigating economic hardship. There was a subtle, often ironic tension in his approach—an attempt to apply the bold, rhythmic energy of Midwestern masters like Thomas Hart Benton and Grant Wood to the more reserved, mist-covered landscapes of New England. This stylistic fusion allowed him to portray the American spirit as something both resilient and deeply contemplative, finding beauty in the weathered barns, frozen roads, and stoic faces of a changing nation.
Sample’s career was marked by a fascinating geographical duality, oscillating between the sun-drenched coasts of California and the rugged, seasonal rhythms of the Northeast. After studying at the Art Students League and the Otis Art Institute in Los Angeles, he joined the faculty of the University of Southern California, where his work began to reflect the social complexities of the era. Yet, it was his connection to New England—bolstered by his marriage to Sylvia Howland—that provided his most enduring subject matter. His summers spent in Maine and Vermont allowed him to develop a mastery over atmosphere, particularly the way light filters through winter woods or settles upon a lonely country road. These works are characterized by an emotional depth that transcends mere scenery; they are psychological portraits of place.
His achievements extended beyond the gallery walls into the broader cultural consciousness of mid-century America. A notable moment in his career was his contribution to literature, specifically creating the evocative cover art for Carl Sandburg’s 1948 novel, Remembrance Rock. This ability to translate narrative emotion into visual form underscored his status as a storyteller of the American experience. His induction into the National Academy in 1941 served as a formal recognition of a talent that had successfully bridged the gap between academic rigor and popular resonance.
Today, the significance of Paul Sample lies in his ability to act as a bridge between eras. While his contemporaries often sought the avant-garde, Sample remained committed to the truth of the landscape and the human condition. His legacy is found in the quiet moments captured on canvas:
