Картина, яка принесла Peter Greenham славу, — це Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941) (1990); вона експонується в Antony House. Tremayne Carew Pole (b. 1974) (1988) та Johnny Carew Pole (b. 1975) (1988) не поступаються їм у серцях колекціонерів та відвідувачів музеїв. З 5 робіт Peter Greenham у нашому каталозі ці 5 є найбільш шанованими; кожна з них представлена з датою створення, назвою музею та описом її унікальності.
Рейтинг сформовано на основі нашого показника популярності, що поєднує кількість пошукових запитів, переглядів та замовлень для кожної роботи. Оновлено Жовтень 2026.
1 музеїв, у яких зберігається більшість картин на цій сторінці.
| Музеї | Місто | Твори Peter Greenham | Картини з цього списку |
|---|---|---|---|
 Antony House |
5 | Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941), Tremayne Carew Pole (b. 1974), Johnny Carew Pole (b. 1975) |
Шедеври Peter Greenham, створені протягом лише 3 років, з 1988 по 1990: найкращі миті кожного року.
Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941) (1990), Antony House. Далі йдуть Tremayne Carew Pole (b. 1974) (1988) та Johnny Carew Pole (b. 1975) (1988).
81 років: Peregrine Nicholas Eliot, 10th Earl of St Germans (b. 1941) датована 1990 роком, а Peter Greenham народився(-лася) у 1909.
У нашому каталозі представлено 5 робіт Peter Greenham, датованих періодом з 1988 по 1990.
Більшість із них знаходяться в Antony House. У таблиці вище перелічені музеї по черзі.
У 1988: 4 із 5 робіт на цій сторінці датуються цим часом, серед них Tremayne Carew Pole (b. 1974).
Найдавніша робота на цій сторінці датована Tremayne Carew Pole (b. 1974) (1988), найновіша — 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) та Johnny Carew Pole (b. 1975) — це одні з 5 робіт на цій сторінці, що належать 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.