WHEN NORMAN ADAMS died in March 2005, England lost one of the most significant artists to have emerged over the last half-century: a visionary painter of profound and intense relevance to our times, a pictorial and profoundly Romantic thinker in the direct line of William Blake and Samuel Palmer, Stanley Spencer and Paul Nash. Public recognition of this fact would have been hard to tell at the time, though – the obituaries, while thoughtful and perceptive, were no more than standard in length and if you went into a bookshop to find out more about his life and work, absolutely nothing would have ...
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