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Like Evening Spring, the four studies that comprise Nocturne Quartet relate to Reynolds’ large oil on board, Spring (1955, National Gallery of Victoria, Melbourne). Despite their diminutive scale, the studies contain much of the strength of the final work in encapsulating the potential of plants on the very verge of bursting into life. Their visionary quality alludes to and vies with the landscapes of the Romantic painter, Samuel Palmer, and the older Neo-Romantic, Graham Sutherland, both of whom, like Reynolds, lived and worked in Kent.
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