Anna Dillonさんのイラストまとめ

@garyshaffer206 @SJFTremoribus You've captured the same, dramatic light, as I saw when I painted this. Glorious.

Looking through some of my older work. This is one of my first ever attempts with oil paint in 1996. I don't have a record of where it is unfortunately. Maybe the Merry Maidens stone circle in Cornwall or somewhere on Dartmoor. #standingstones

@HoylakeRNLI @NERCscience @RNLI @BAS_News How lovely and your photo shows the framed print of my painting on the left, above your collection box so I feel like I'm in the most exceptional company as I'm a HUGE supporter of the RNLI.

@ricster71 Thanks Ric, these two.

Subconscious inspiration at play today. These trees are part of a large painting of Hartslock Nature Reserve looking over the Thames for our Wessex Airscapes show. I think I've taken notes from Paul Nash's oil painting 'Wood on the Downs', 1930.

The @BAS_News RRS James Clark Ross ship departs the Falkland Islands for the last time after 30 years. She's been at the cutting edge of many scientific discoveries & she kept me safe for over 36 days on the wild Southern Ocean. The end of an era. I got to paint her- an honour.

I'm using one of Hedley's great drone photos for reference with grateful thanks. I've had some 'sub-conscious' inspiration when painting this from this beautiful painting (below) called Summer Landscape by John Minton.

How artists inspire artists can lead to fascinating chains of creativity over years, decades and centuries. C.R.W Nevinson's 1916 etching 'Return to the Trenches' inspired Paul Nash's 1918 Lithograph 'Marching at Night' which inspired me to paint 'Poplar Boulevard' in 2018.

Thank you @AngelaRayner for highlighting the disparity that our Government's guidance about grouse shooting highlights at today's PMQ's. I think today's @thetimes carton by Peter Brookes, sums up your point perfectly.

This is the view you get as you pass the Devil's Punchbowl. The striking triangle chalk field stands out against the backdrop of the Vale of the White Horse.