One artist whose work I have admired for quite a while but never really knew how to contextualize in a topical or thematic way is Samuel Palmer (1805-1881). He seems to be one of those people who was not of his time. I guess you would call him a Victorian artist, but he reacted against his dynamic age by creating rather romanticized, even primitivized (if that is a word) landscapes and pastoral scenes, in several mediums. I find much of his work–particularly his early work– very appealing yet hard to pin down: some of his paintings look and feel as if they could date from either the early seventeenth century or the late nineteenth. The monochromatic drawings which he called “blacks” (the first two images below) look strikingly modern to me, and deliberately designed to illustrate the effects of moonlight. I was looking and thinking about the Harvest Moon over the past few nights and suddenly one of these popped into my mind. So I looked up his works at the Tate, the Victoria and Albert Museum, and the Metropolitan Museum of Art, and a few other places, and found that my memory was correct: this was a man who could really draw (down) the full moon–and its crescent counterparts as well. The then-nineteen-year-old’s biblical inscription on the last drawing below is both timeless and timely: The / moon / also to / rule by night / for his mercy / endureth / for ever. Thou / crownest / the year / with thy / goodness.