Veržė Peter Greenham šlovę tapas Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941) (1990); šis kūrinys eksponuojamas Antony House. Tremayne Carew Pole (b. 1974) (1988) ir Johnny Carew Pole (b. 1975) (1988) seka juos kolekcionerių bei muziejų lankytojų širdyse. Iš 5 Peter Greenham kūrinių mūsų kataloge, šios 5 yra labiausiai gerbiamos – kiekvienas jų pateikiamas su datos, muziejaus ir išskirtinės ypatybės aprašymu.
Rangos vieta nulegiama pagal mūsų populiarumumo balas, kurį sudaro kiekvieno kūrinio paieškos, apsilankėjimai ir užsakėjimai. Atnaujinta lapkritis 2026.
1 muziejai, kuriuose yra daugiausia šioje puslapyje esamų paveikslų.
| Muzejaus | Miestas | Peter Greenham darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Antony House |
5 | Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941), Tremayne Carew Pole (b. 1974), Johnny Carew Pole (b. 1975) |
Peter Greenham laiko šedevrai apima tik 3 metų laikotarpį, nuo 1988 iki 1990: štai kiekvieno metų jų geriausia dalis.
Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941) (1990), Antony House. Toliau yra Tremayne Carew Pole (b. 1974) (1988) ir Johnny Carew Pole (b. 1975) (1988).
81 metų amžiaus: Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941) sukurta 1990 m. ir Peter Greenham gimė 1909.
Mūsų kataloge yra 5 Peter Greenham darbų, datuojamų nuo 1988 iki 1990.
Dauguma jų yra Antony House. Viršuje esančiame lange muziejai išvardyti po vieni.
1988 laikotarpyje: 4 iš 5 šioje pusėje esančių darbų sukurtos tada, iš jų – Tremayne Carew Pole (b. 1974).
Pirmasis šioje pusėje yra Tremayne Carew Pole (b. 1974) (1988), paskutinis – Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941) (1990).
Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941), Tremayne Carew Pole (b. 1974) ir Johnny Carew Pole (b. 1975) yra vieni iš 5 šioje puslapyje esamų darbų, kuriuos saugo Antony House.
Born in Streatham, London, on 9 September 1909, Peter Greenham entered a world that would eventually see him become a significant figure in British art. He was not alone in his creative inclinations, for he was the brother of the artist Robert Duckworth Greenham. This familial connection suggests an environment where the visual language of art was a shared understanding. Before he dedicated himself fully to the brush, his path led him through the halls of Oxford University, where he applied his intellect to the study of English at Magdalen College.
The transition from the study of words to the study of form was a profound shift in his development. Between 1935 and 1939, Greenham sought formal training at the Byam Shaw School of Art. It was during these formative years that his technical skill began to take shape under the guidance of Francis Ernest Jackson. This period of study provided the essential foundation for a life spent observing the nuances of the human subject and the complexities of light and shadow.
His ascent within the British art establishment was marked by steady recognition and a deep commitment to the instruction of others. In 1960, he was elected a member of the Royal Academy, a distinction that reflected his growing influence as a portraitist. This prestige continued to grow as he moved through the ranks of the institution, eventually being named a Senior RA on 31 December 1984. Beyond his own studio practice, he held a position of great responsibility as the Keeper of the Royal Academy Schools from 1964 to 1985, where he helped shape the development of many young artists of the post-war generation.
His leadership extended to the Royal Society of British Artists, where he served as President. He was a man of many interests, and his intellect found expression not only through his brush but also through his pen, as he became a prolific writer on the subject of art. His ability to observe the human character was perhaps most famously demonstrated when he was commissioned by the Welsh Guards to paint H M the Queen in 1962.
To encounter the legacy of Peter Greenham is to wander through the most significant repositories of British art. His presence is felt within the halls of the Royal Academy and the Tate, where his hand remains part of the institutional memory of the nation. Those seeking his portraiture might find his likenesses held by the National Portrait Gallery in London, a place where the faces of history are preserved. His reach extends to the Government Art Collection, ensuring his vision remains part of the public record.
The breadth of his influence is further evidenced by the various museums that have seen fit to house his canvases. The Ashmolean Museum and the British Museum both hold his works, placing his art alongside the great treasures of human achievement. In the Guildhall Art Gallery, his paintings find a home, while the Arts Council Collection ensures his contributions are kept for future study. His work also resides within the collections of the National Trust, where it remains part of the private and public histories of the land.