Richard Morrisさんのイラストまとめ

Edward Wolfe met PC 77 of the Metropolitan Police in 1927 when he was trying break into his own studio in Grosvenor Road, Pimlico having forgotten his keys. In retrospect, Wolfe thought the bottle of beer was an unwise prop.

Another example of Francis Towne's mastery of watercolour. This picture from 1781 is of the Arveyron, a tributary of the river Arvea which rises from the base of the Glacier des Bois in Chamonix. He disregards traditional perspective and gives an abstract vision of the landscape.

Hilda Carline's painting of a zeppelin was made in 1914 and records a live event as an airship flew directly over and then encircled the Carline home at 47 Downshire Hill, Hampstead in London.

Philip Connard's portrait of Romily Jones as the 'Rat Catcher,' (1923) sees him with Mr Ferret, who lived until the age of 12. Jones and his ferret led a nomadic life, travelling by horse and caravan across the south of England in the 1920s and 1930s.

Christopher Nevinson's 1916 work shows a Royal Engineer's tunneler a member of the unit within the British Army, formed to dig tunnels under enemy occupied territory. Canaries (in the cage) are very susceptible to lack of oxygen so gave miners a warning of the presence of gas.

'Miners.' (1952) Keith Vaughan painted this image, probably in situ, during a period of significant optimism and patriotism in Britain when toil and work were associated with progress and regeneration.

'Landscape of Ireland.' (c1950) The Anglo Polish artist Zdzislaw Ruszkowski was an inventive painter who liked intense colours, combining them in his paintings in a completely individual way that gives them great intensity.

In 1908, Festus Kelly travelled to Mandalay in Burma, and spent a year being thrilled by its colour and lifestyle. Reproductions of Kelly's paintings made in the country became at one time amongst the most popular prints in Britain.

'Rocks, St Mary's, Scilly Isles,' (1950) show Wilhelmina Barns-Graham's superb, crisp, draughtsmanship. She was wrongly regarded as a follower of Ben Nicholson, chiefly because her work did follow the same evolution as some of her more assertive (male) contemporaries.

The two strands of Christopher Wood’s life, being at the centre of avant-garde artistic Paris and the recluse who longed for simplicity and peace of the rural life, came together when he visited Tréboul in Brittany in 1929 and to where he returned the following (final) summer.