Richard Morrisさんのイラストまとめ

Eliot Hodgkin is best known for his still life work in tempera, but before he got into his stride making these subjects, he painted in watercolour. This is 'Purley School,' from 1932 after leaving the Royal Academy School.

'A Tuscan Landscape.' (1904) Ellen Thesleff studied at Academie Colarossi in Paris in 1891-92 and was hugely influenced by the Symbolist movement fashioning both French poetry and painting of the day. This work reflects her ceaseless pursuit of capturing 'the dream of life'.

The French Riviera had attracted Impressionist and Fauve painters such as Monet, Renoir and Matisse in the middle years of the Third Republic. John Lavery retraced their footsteps in 1920 and painted his wife Hazel on the balcony of the Eden-Grand Hotel at Cap d’Ail.

Writing about his time in the Cotswolds, William Rothenstein said he found inspiration: 'In the stone buildings which always move me, austere in grey weather, pale, livid even, against a stormy sky, they are warm and sparkling in the sunlight.'

James Hamilton is talking about his biography of 'John Constable: Artist and Radical,' at Hatchards Piccadilly on March 24. The picture is 'Seascape Study with Raincloud.' (1827)
https://t.co/Dm67P0U2PB

'Three Tomatoes.' Since her death in 1965, Anne Redpath has become one of the most popular 20thC Scottish painters, known for her rich colours and an expressive, gutsy, style.

'Elm Park Gardens, November.' Freddie Gore was that rare thing in the art world: a prolific and successful painter who also managed to sustain several active and parallel careers. He studied painting at the Ruskin School (later the Slade) while reading Classics at Oxford. (1961)

Throughout Alfred Munnings' memoirs, there are frequent references to his longing to sit by a river and paint. This depiction of the Barle river in Withypool on Exmoor was made in the 1940s. It was an area he frequently returned, to paint the play of light on the water's surface

'A Corner of the Tamar Valley.'  Harold Hitchcock's work falls recognisably into the English romantic tradition of William Blake and Samuel Palmer; sometimes slipping freely between the extremes of the French 17thC classicist Claude Lorraine and a touch of 20thC surrealism.

The people of Sitka in Alaska and their non-European culture fired Emily Carr's imagination. She wrote: 'The Indian people and their art touched me deeply. By the time I reached home, my mind was made up. I was going to paint totem poles in their own village settings.' (1931)