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PROUT, SAMUEL (1783–1852)

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Originally appearing in Volume V22, Page 491 of the 1911 Encyclopedia Britannica.
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PROUT, See also:SAMUEL (1783–1852) , See also:English See also:water-See also:colour painter, was See also:born at See also:Plymouth on the 17th of See also:September 1783. He spent whole summer days, in See also:company with the See also:ill-fated See also:Hay See also:don, in See also:drawing the quiet cottages, rustic See also:bridges and romantic water-See also:mills of the beautiful valleys of See also:Devon. He even made a See also:journey through See also:Cornwall to try his See also:hand in furnishing sketches for See also:Britton's Beauties of See also:England. On his removal in 1803 to See also:London, which became his headquarters after 1812, a new See also:scene of activity opened up before Prout. He now endeavoured to correct and improve his See also:style by the study of the See also:works of the rising school of landscape. To gain a living he painted marine pieces for Palser the printseller, received pupils, and published many drawing books for learners. He was likewise one of the first who turned to See also:account in his profession the newly-invented See also:art of See also:lithography. It was not however until about 1818 that Prout discovered his proper See also:sphere. Happening at that See also:time to make his first visit to the See also:Continent, and to study the See also:quaint streets and See also:market-places of See also:continental cities, he suddenly found himself in a new and enchanting See also:province of art. All his faculties, having found their congenial See also:element, sprung into unwonted See also:power and activity. His See also:eye readily caught the picturesque features of the See also:architecture, and his hand recorded them with unsurpassed felicity and See also:fine selection of See also:line. The See also:composition of his drawings was exquisitely natural; their colour exhibited " the truest and happiest association in See also:sun and shade"; the picturesque remnants of See also:ancient architecture were rendered with the happiest breadth and largeness, with the heartiest See also:perception and enjoyment of their time-worn ruggedness; and the solemnity of See also:great cathedrals was brought out with striking effect.

At the time of his See also:

death, on the loth of See also:February 1852, there was scarcely a nook in See also:France, See also:Germany, See also:Italy and the See also:Netherlands where his quiet, benevolent, observant See also:face had not been seen searching for See also:antique gables and sculptured pieces of See also:stone. In See also:Venice especially there was hardly a See also:pillar which his eye had not lovingly studied and his See also:pencil had not dexterously copied. See a memoir of Prout, by See also:John See also:Ruskin, in Art See also:Journal for 1849, and the same author's Notes on the Fine Art Society's See also:Loan Collection of Drawings by Samuel Prout and See also:William See also:Hunt (1879-188o).

End of Article: PROUT, SAMUEL (1783–1852)

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