Both artists, Samuel Palmer and William Blake were two artists that were truly ahead of their time period. Both artists style was so advance for their time they did not fit into their art historical category during their era. Samuel Palmer was born in Surrey Square, St. Mary’s, and Newington. When Palmer was a child he was very frail and required a nurse growing up. Mary Ward would be his nurse to aid young Palmer, and also contributed to the development of his mind, and implanting the love of poetry in him at a young age. Palmer father’s trade was a big factor into Palmer’s intellectual development. The books the father was trading constantly changing, and Palmer’s reading skill was improving greatly and taking in everything he was learning from the various books. He read books like fiction, travel, religion, and poetry. His dad also taught him English, and had intellectual discussion on all type of subjects while walking in the neighbouring countryside. His mother encouraged Palmer copy architectural and botanical drawings and prints of easel paintings and frescoes during his younger years. But Palmer felt copying these skills was not his calling and he preferring authorship. After the death of Palmer’s mother, a minor artist had played an important role in Palmer’s life. That artist name was William Wate that had landscapist ability that cause people to make them interested in his work. Wate happened to have extremes passion for Romantic aesthetic, and also showed Palmer how to safely draw the mildest form of the picturesque. Wate also introduced Palmer to the elementary drawing lessons of popular tutors of the eighteenth-century who name was Alexander Cozens who wrote four major treaties on practical aesthetics. He thought Palmer the setting to fix the basic forms of thirty-two species of trees. He showed him the shape, skeleton, and foliage of the trees and how to produce the principles of beauty relative to the human head. In 1819 Palmer had attended the Royal Academy summer exhibition. This was an annual art show that was a major event the Royal Academy held every year. At this time period art show was an innovation in England, also being part of the Academy mean you had status and with status came with commissions and wealth. During the summer exhibition the parade was densely packed with paintings, sculptures, drawings and prints. Out of all the paintings Palmer had seen Turner’s painting called the “Entrance of the Meuse: Orange Merchant at the Bar, going to pieces” had inspired the young artist to different styles of art. The painting had light and the colour dissolve in tempestuous flurries and the sublime passions was sheered by the power of paint which the cloudscape feels stirring. After seeing the freedom of Turner work of art, his lifelong admiration for Turner was instilled. Turner had led the young palmer to create descriptions towards a pursuit of the effects that people during his generation could not understand. In 1820, Palmer picture was accepted by the Royal Academy and that following year they took another one of his work of art. Even though he had one accepted by the Academy, the British Institution took three of his work. The problem with Palmer around this time period in his life is the fact he had lack of confident rounding of a classical training. His lack of formal learning discourages him so much it started to affect his poetic impulses. In the beginning of 1824, Palmer would meet several fellow pilgrims who would have also an influence on his career. By summer, Palmer and the group refer themselves as the Ancients. Most of the members were practising art skills. Their artistic fellowship started to grow like weed in the soil because of the French Revolution. Their rebellious style of painting played an important role in the European Culture. When this group was form Palmer was just fifteen and had a self-portrait of being youthful and challenging to the modern day painting of that era. Interesting painting of note is The Rising Moon. The painting shows the shepherd, and his belongings are missing, and he took the time to pause beside his flock. The full moon illuminates the motley sky and roofs of a nearby village. This etching shows Palmer’s earlier work. Palmer’s practice of combing elements from various different sketches was one of his greatest skills. On the left part of the picture, one can see that Palmer darkened the shadows with touches of graphite, to make the view better. Another painting that he did was called the Oak Trees in Lullingstone Park created in 1828. Palmer view trees differently than most people. He had seen them as mere leafy adornments of a picturesque composition. To him they seem like people. Each tree had its own individual personality and look. He saw in these oaks the noble descendants of the great Celtic giants which had once sheltered the valley of Shoreham. Lastly, The Lonely Tower which was created during the last fifteen years of his life. This piece of art happened to be one of his most evocative work of art. What this painting shows the ruined tower stands on the edge of a cliff, a proud remnant of something that had once been great keeping solitary watch over the quiet of the night. Another artist who was ahead of his time was William Blake. Blake one of the most influential, but also one of the most perplexing, of all British artists in art history. This artist produced an enormous varied range of work, appealing to many diverse audiences. William Blake was born in London hosier in 1757. Blake always had an interest for art and his father would have a habit of buy him prints that was not worth much. This would create a foundation for the young Blake to practice his art skills with the print his father brought him. In 1779, Blake enrolled to the Royal Academy for six years as a student. He was attentive learner and dislikes the lectures from Sir Joshua Reynolds. Reynolds lectures would be about the virtues of general beauty and the pursuit of general truth. Blake refused to follow Reynolds’s classically influenced course, because he saw art of a spiritual age. Blake not doing Reynolds course made him unfitted for his era. He went against the norm of historical category such as history, religion, landscape, and other styles of what the Royal Academy was teaching. When looking at Blake’s art, his writing, his achievements as a printmaker shows his individualism and ambitions. There is no doubt one can see his richness and extent of his imagination. Before Blake would work on tempera for a client he would prepare his ground. He would lay his tempera over his panels for painting mixing his colours, and a manner that would please his clients. His ground was a mixture of whiting and carpenter’s glue, which he passed over several times in thin coatings. He would then paint the picture by using a very thin transparent wash of glue-water over the whole part he worked upon. One of the greatest tools Blake use was the bible. The Bible was an important source of information of matter because he produced hundreds of drawings and paintings on biblical themes. Religion and history was Blake speciality when it came to his art work. For Blake the bible was not just an ordinary record of historical events, or a form of spiritual document, but the embodiment of the whole history of mankind, past, present and future. The Bible gave him a key understanding of everything and the bible itself was the greatest work of poetry to him. The earliest Bible illustrations done by him was around 1799 to 1803 and were all done in tempera. Blake uses a technique that would later be called ‘fresco.’ He has painted around fifty of these paintings for Butt who commissioned Bible subjects from Blake. The paintings would be about the Life of Christ, with some Old Testament subjects. The temperas and watercolours Blake would use had a wide range of stylistic sources. For William Blake not to fit into any historical category is absurd because he did had similar painting like any other artist when it came to history. Blake has always wanted to be taken serous as a history painter. The biblical series have shown a reflection on the change in Blake’s personal and religious outlook. After 1790s of his pessimism period Blake develop more of a positive view on life. The possibility of salvation through Christ is a running theme throughout his Bible illustrations. Many artists during the late eighteenth century changed to using to neutral tint for the grey base tones for their watercolour drawings. Blake of course being an individual generally remained faithful to ink diluted to varying grey tones. Blake also disliked chiaroscuro and expressed his rejection of light and shadow contrast. Blake would also produce sculptural quality by using small brushstrokes of red, blue and black. This technique was done with great care not to mix but rather to lay the pigments side by side in small brushstrokes, creating surface like such work like The Serpent Attacking Buoso Donati. Interesting painting of note is Naomi Entreating Ruth and Oprah to Return to the Land of Moab. When looking at this painting one can see that Blake use all the colours slate blue, bright blue, mixed green, yellow grey/black were applied to the plate without overlapping or even leaving the uncoloured areas. The shading of the green is caused both uneven mixing of yellow and ochre and Prussian blue. Before the print was dry, Blake would rub down the paint that he had printed too far into the reserve of the figures, leaving smooth smudges by Orpah’s ankles. This painting idea came from the Hebrew bible on the Old Testament. This was the Book of Ruth one of the Five Megillot. Another art work Blake did was called God Judging Adam that was made out of colour printed relief etching with ink and watercolour on paper. When looking at the painting one can see the detail of flames about God’s head. The lightest part of the flames is made out of blank paper. The first outline of this design was printed from a relief etched copper plate. The light grey shows the definition of God’s arm and his hair. Blake then also strengthened the lines by using ink. Most of Blake painting had meaning for the most part and some of his intentions are still a mysterious of what he was trying to portray. The idea William Blake got from this painting came from Genesis 3: 17-19. This painting shows the embodies Blake’s criticism of legalistic tyranny, judgment, and punishment of mankind. The art shows God riding on a fiery chariot, holding his book of laws on his lap and pints toward Adam with his extended right arm. When looking at Adam’s long beard it indicates that he has already been marked by mortality. In conclusion the visionary poet-painter, William Blake powerful imagery derived from the Bible and Palmer’s landscaping drawing were unpopular at their own time period because both did not follow the traditional Royal Academy and French Academy standards.

Bibliography
Lister, Raymond, and Samuel Palmer. Samuel Palmer and "The Ancients": Fitzwilliam Museum, Cambridge, 9 October - 16 December 1984. Cambridge [u.a.: Cambridge Univ., 1984. Print.
Campbell-Johnston, Rachel. Mysterious Wisdom: The Life and Work of Samuel Palmer. London: Bloomsbury, 2011. Print.

Blake, William, Robin Hamlyn, Michael Phillips, Peter Ackroyd, and Marilyn Butler. William Blake. New York: Harry N. Abrams, 2001. Print.

Townsend, Joyce, Robin Hamlyn, and William Blake. William Blake: The Painter at Work. Millbank, London: Princeton UP, 2003. Print.

--------------------------------------------
[ 1 ]. Lister, Raymond, and Samuel Palmer. Samuel Palmer and "The Ancients": Fitzwilliam Museum, Cambridge, 9 October - 16 December 1984. Cambridge [u.a.: Cambridge Univ., 1984. Print.pg.1
[ 2 ]. Lister, Raymond, and Samuel Palmer. Samuel Palmer and "The Ancients": Fitzwilliam Museum, Cambridge, 9 October - 16 December 1984. Cambridge [u.a.: Cambridge Univ., 1984. Print.pg.1
[ 3 ]. Lister, Raymond, and Samuel Palmer. Samuel Palmer and "The Ancients": Fitzwilliam Museum, Cambridge, 9 October - 16 December 1984. Cambridge [u.a.: Cambridge Univ., 1984. Print.pg.1
[ 4 ]. Campbell-Johnston, Rachel. Mysterious Wisdom: The Life and Work of Samuel Palmer. London: Bloomsbury, 2011. Print. Pg.27
[ 5 ]. Campbell-Johnston, Rachel. Mysterious Wisdom: The Life and Work of Samuel Palmer. London: Bloomsbury, 2011. Print. Pg.30
[ 6 ]. Campbell-Johnston, Rachel. Mysterious Wisdom: The Life and Work of Samuel Palmer. London: Bloomsbury, 2011. Print. Pg.31
[ 7 ]. Campbell-Johnston, Rachel. Mysterious Wisdom: The Life and Work of Samuel Palmer. London: Bloomsbury, 2011. Print. Pg.33
[ 8 ]. Campbell-Johnston, Rachel. Mysterious Wisdom: The Life and Work of Samuel Palmer. London: Bloomsbury, 2011. Print. Pg.37
[ 9 ]. Campbell-Johnston, Rachel. Mysterious Wisdom: The Life and Work of Samuel Palmer. London: Bloomsbury, 2011. Print. Pg.89 and 90
[ 10 ]. Lister, Raymond, and Samuel Palmer. Samuel Palmer and "The Ancients": Fitzwilliam Museum, Cambridge, 9 October - 16 December 1984. Cambridge [u.a.: Cambridge Univ., 1984. Print. Pg.63
[ 11 ]. Campbell-Johnston, Rachel. Mysterious Wisdom: The Life and Work of Samuel Palmer. London: Bloomsbury, 2011. Print. In between pg.196-97
[ 12 ]. Campbell-Johnston, Rachel. Mysterious Wisdom: The Life and Work of Samuel Palmer. London: Bloomsbury, 2011. Print. In between pg.196-97
[ 13 ]. Blake, William, Robin Hamlyn, Michael Phillips, Peter Ackroyd, and Marilyn Butler. William Blake. New York: Harry N. Abrams, 2001. Print., back of the book
[ 14 ]. Campbell-Johnston, Rachel. Mysterious Wisdom: The Life and Work of Samuel Palmer. London: Bloomsbury, 2011. Print. pg..61
[ 15 ]. Campbell-Johnston, Rachel. Mysterious Wisdom: The Life and Work of Samuel Palmer. London: Bloomsbury, 2011. Print. pg..61
[ 16 ]. Blake, William, Robin Hamlyn, Michael Phillips, Peter Ackroyd, and Marilyn Butler. William Blake. New York: Harry N. Abrams, 2001. Print pg.174.
[ 17 ]. Townsend, Joyce, Robin Hamlyn, and William Blake. William Blake: The Painter at Work. Millbank, London: Princeton UP, 2003. Print. Pg.41
[ 18 ]. Blake, William, Robin Hamlyn, Michael Phillips, Peter Ackroyd, and Marilyn Butler. William Blake. New York: Harry N. Abrams, 2001. Print. Pg.60
[ 19 ]. Blake, William, Robin Hamlyn, Michael Phillips, Peter Ackroyd, and Marilyn Butler. William Blake. New York: Harry N. Abrams, 2001. Print. Pg.60
[ 20 ]. Blake, William, Robin Hamlyn, Michael Phillips, Peter Ackroyd, and Marilyn Butler. William Blake. New York: Harry N. Abrams, 2001. Print. Pg.60
[ 21 ]. Townsend, Joyce, Robin Hamlyn, and William Blake. William Blake: The Painter at Work. Millbank, London: Princeton UP, 2003. Print
[ 22 ]. Townsend, Joyce, Robin Hamlyn, and William Blake. William Blake: The Painter at Work. Millbank, London: Princeton UP, 2003. Print. Pg.65
[ 23 ]. Townsend, Joyce, Robin Hamlyn, and William Blake. William Blake: The Painter at Work. Millbank, London: Princeton UP, 2003. Print. Pg.93
[ 24 ]. Townsend, Joyce, Robin Hamlyn, and William Blake. William Blake: The Painter at Work. Millbank, London: Princeton UP, 2003. Print. Pg.92