Slika, po kateri je Peter Greenham postal/postala znan/znana, je Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941) (1990); razpostavljena je v Antony House. Tremayne Carew Pole (b. 1974) (1988) in Johnny Carew Pole (b. 1975) (1988) sledeta tem v srcih zbirateljev in obiskovalcev muzejev. Od 5 del umetnika Peter Greenham v našem katalogu so teh 5 najbolj občudovalnih, od katerih je vsak predstavljen z letnico nastanka, muzejem in tistim, kar ga loči od drugih.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno oktober 2026.
1 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Peter Greenham | Slike iz tega seznama |
|---|---|---|---|
 Antony House |
5 | Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941), Tremayne Carew Pole (b. 1974), Johnny Carew Pole (b. 1975) |
Toreks umetniška znamenitosti obdobja Peter Greenham obsegajo le 3 let, od 1988 do 1990: tukaj je vsaka leta v njegovi najboljši obliki.
Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941) (1990), Antony House. Nato sledeta Tremayne Carew Pole (b. 1974) (1988) in Johnny Carew Pole (b. 1975) (1988).
81 let: delo Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941) iz leta 1990, pri čemer je Peter Greenham rodil/a v 1909.
V našem katalogu je navedenih 5 del avtorja Peter Greenham, datiranih od 1988 do 1990.
Večina njih se nahaja v Antony House. Zgornja tabela navaja muzeje posamezno.
V obdobju 1988: 4 od 5 del na tej strani izvira iz tega obdobja, med katerimi je Tremayne Carew Pole (b. 1974).
Najstarejšo delo na tej strani je iz Tremayne Carew Pole (b. 1974) (1988), najnovejše pa iz 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) in Johnny Carew Pole (b. 1975) so med 5 dela na tej strani, ki jih hrani 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.