Målningen som gjorde Peter Greenham känd är Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941) (1990); den hänger på Antony House. Tremayne Carew Pole (b. 1974) (1988) och Johnny Carew Pole (b. 1975) (1988) följer efter i samlarnas och museumbesökarnas hjärtan. Av de 5 verk av Peter Greenham i vår katalog är dessa 5 de mest beundrade, var och en presenterad med sitt datum, sitt museum och vad som utmärker dem.
Rankade efter vår popularitetspoäng, som kombinerar sökningar, besök och beställningar för varje verk. Uppdaterad oktober 2026.
Museet som innehar flest av målningarna på denna sida.
| Museum | Stad | Verk av Peter Greenham | Målningar från denna lista |
|---|---|---|---|
 Antony House |
5 | Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941), Tremayne Carew Pole (b. 1974), Johnny Carew Pole (b. 1975) |
Peter Greenhams daterade mästerverk sträcker sig över endast 3 år, från 1988 till 1990: här är varje år i sin främsta form.
Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941) (1990), Antony House. Därefter följer Tremayne Carew Pole (b. 1974) (1988) och Johnny Carew Pole (b. 1975) (1988).
81 år gammal: Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941) dateras från 1990 och Peter Greenham föddes 1909.
Vår katalog innehåller 5 verk av Peter Greenham, daterade från 1988 till 1990.
De flesta av dem finns i Antony House. Tabellen ovan listar museerna ett efter ett.
Under 1988: 4 av de 5 verk som finns på denna sida härstammar från den tiden, däribland Tremayne Carew Pole (b. 1974).
Det tidigaste på denna sida är Tremayne Carew Pole (b. 1974) (1988), det senaste 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) och Johnny Carew Pole (b. 1975) är bland de 5 verk på denna sida som innehas av 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.