Richard Morrisさんのイラストまとめ

'Trieste Harbour.' 1907 was an important year for 17 year old Egon Schiele, still a student at the Vienna Academy he had outgrown its doctrines and its tutors. It was also the year he first got to know Klimt, 'through' whom, as he later said, he was to reach his own unique style.

Archibald Campbell Mellon painted the fleeting glories of the English seaside summer, the escape for many thousands to Gorleston or as in this picture Hopton Cliffs in Norfolk. It was here, tormented by his memories of WW1, the writer Henry Williamson walked seeking isolation.

Each summer, George Bellows sought artistic inspiration away from the heat of New York City. He first visited Monhegan, Maine, in the summer of 1911 where the island’s raw beauty, dramatic coastline and rolling sea provided the ideal scenery for his style of painting.

'A Lane in the Cotswolds.' Predominately a landscape artist, Gilbert Spencer painted the landscapes of the southern English counties of Berkshire, Oxfordshire and Dorset. This picture looks towards the house of Austin Lane Pool, Principal of St John's College, Oxford in 1930.

Isaac Israëls's beach scenes capture the nostalgia of childhood summer holidays and familiar seaside views. His artist father Jozef, often took him to the beach at Scheveningen (The Hague) during the summer months of his youth, where they would paint together with Max Liebermann.

Chagall's picture from 1914 depicts a couple flying over his home village of Vitebsk. The two figures represent the artist and his muse Bella Rosenfeld, who was also from Vitebsk, and who Chagall married in 1915.

'A Woman's Work.' John Sloan was one of the founders of the Ashcan School, America's first avant garde group of artists who rebelled against both American Impressionism and academic realism; this beautifully observed scene was painted from his Manhattan apartment in 1912.

'House boats, Méricourt' (1937) Albert Marquet's most profound influence on his work is that of the Impressionists and like them, his favourite subjects were port scenes, river views and coastal villages; he was fascinated by the effect of light on water.

By the time this self portrait was painted in 1917, William Strang was as renowned for his Holbein-esque esquisite drawings in red chalk, as for his portraits in oil. During his lifetime, and to the annoyance of some art critics, Strang defied easy classification.

A feeling of well-being and tranquillity is typical of the paintings by Dorothea Sharp. Her work accentuates the positive side of life; perfectly represented here by this picture of Porthmeor Beach, St Ives in Cornwall.