Anders Zorn
A Sweden Museum


Anders Zorn's Oil Paintings
Anders Zorn Museum
February 18, 1860 – August 22, 1920.
Anders Zorn

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110,680 paintings total

  

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Here are all the paintings of Samuel Prout 01

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
28012 C'a d'Oro,Venice Samuel Prout C'a d'Oro,Venice c 1830 Watercolour 43.2 x 30.5 cm (17 x 12in) Victoria and Albert Museum (mk63)
26120 Hotel de Ville,Louvain (mk470 Samuel Prout Hotel de Ville,Louvain (mk470 SPWC 1823 bt,G.Haldimand Watercolour 1257x975mm National Museums Liverpool,the Walker
26106 Part of Durham Bridge (mk47) Samuel Prout Part of Durham Bridge (mk47) 1815 Watercolour 438x591mm
68897 rome the forum Samuel Prout rome the forum 1824 watercolour and gouache 42x26.6cm se
26127 The Doge s Palace and the Grand Canal,Venice (mk47) Samuel Prout The Doge s Palace and the Grand Canal,Venice (mk47) c.1830 Watercolour 435x564mm Trustees of the Royal Society of Painters in Watercolour

Samuel Prout
English Painter, 1783-1852 was an English water-colour painter. He was born at Plymouth, and spent whole summer days, in company with Benjamin Haydon, drawing the quiet cottages, rustic bridges and romantic watermills of the beautiful valleys of Devon. He made a journey through Cornwall to try his hand in furnishing sketches for Britton's Beauties of England. In 1803 he moved to London, where he stayed until 1812. In London, Prout saw new possibilities, and endeavoured to correct and improve his style by studying the works of the rising school of landscape. To earn a living, he painted marine pieces for Palser the printseller, took students, and published drawing books for learners. He was one of the first to use lithography in his artwork. It was not however until about 1818 that Prout discovered his niche. Happening time to make his first visit to the Continent, and to study the quaint streets and market-places of continental cities, he suddenly found himself in a new and enchanting province of art. His eye caught the picturesque features of the architecture, and his hand recorded them with skill. The composition of his drawings was exquisitely natural; their colour exhibited "the truest and happiest association in sun and shade"; the picturesque remnants of ancient architecture were rendered with the happiest breadth and largeness, with the heartiest perception and enjoyment of their time-worn ruggedness
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