Навчальний посібник для студентів ос «Бакалавр» галузі знань 03 «Гуманітарні науки»

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most notable is the etching of 
The Lonely Tower
(1879). He became a full 
member of the Water Colour Society in 1854, and its annual show gave him a 
yearly goal to work towards. His best late works include a series of large 
watercolours illustrating Milton's poems 
L'Allegro
 and 
Il Penseroso
 and his 
etchings, a medium in which he worked from 1850 onwards, including a set 
illustrating Virgil. 
Palmer's later years were darkened by the death in 1861, at the age of 
19, of his elder son Thomas More Palmer – a devastating blow from which he 
never fully recovered. He lived in various places later in his life, including a 
small cottage and an unaffordable villa both inKensington, then a cottage 
at Reigate. But it was only when a small measure of financial security came 
his way, that was he able to move to Furze Hill House in Redhill, Surrey, 
from 1862. He could not afford to have a daily newspaper delivered to 
Redhill, suggesting that his financial circumstances there were still tight. 
Samuel Palmer died in Redhill, Surrey, and is buried with his wife in 
Reigate churchyard. 
Samuel Palmer was largely forgotten after his death. In 1909, many of his 
Shoreham works were destroyed by his surviving son Alfred Herbert Palmer, 
who burnt "a great quantity of father's handiwork ... Knowing that no one 
would be able to make head or tail of what I burnt; I wished to save it from a 
more humiliating fate". The destruction included "sketchbooks, notebooks, 
and original works, and lasted for days". It wasn't until 1926 that Palmer's 
rediscovery began through a show curated by Martin Hardie at the Victoria & 
Albert Museum, 
Drawings, Etchings and Woodcuts made by Samuel Palmer 
and other Disciples of William Blake
. But it took until the early 1950s for his 
reputation to recover, stimulated by Geoffrey Grigson's 280-page 
book 
Samuel Palmer
(1947) and later by an exhibition of the Shoreham work 
in 1957 and by Grigson's 1960 selection of Palmer's writing. His reputation 

rests mainly on his Shoreham work, but some of his later work has recently 
received more appreciation. 
The Shoreham work has had a powerful influence on many English artists 
after being rediscovered. Palmer was a notable influence on F.L. 
Griggs, Robin Tanner, Graham Sutherland, Paul Drury, Joseph Webb, Eric 
Ravilious, the glass engraving of Laurence Whistler, and Clifford Harper. He 
also inspired a resurgence in twentieth-century landscape printmaking, which 
began amongst students at Goldsmiths' College in the 1920s. (See: Jolyon 
Drury, 2006) 
In 2005 the British Museum collaborated with the Metropolitan Museum of 
Art to stage the first major retrospective of his work, timed to coincide with 
the bicentenary of Palmer's birth. The show ran from October 2005 – January 
2006, and at the Metropolitan Museum of Art, New York, March – May 
2006. 

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