Richard Morrisさんのイラストまとめ

'Airplane.' (1934) William Larkins trained at Goldsmiths College School of Art alongside Graham Sutherland and Paul Drury, producing some rich, poetic and intense pieces of work, now rarely seen and appreciated.

'Rough Sea.' (1917) Bouts of rheumatic fever and shell-shock shortened Christopher Nevinson's time at the Front in WW1. A reviewer heralded Nevinson as the first British artist to give 'really profound and pictorial expression to the emotions aroused by war.'

From the mid 1950s onwards Edward Burra went on regular motoring tours to the less populated areas of Britain with his sister, Anne. In 1973 he visited the Lake District; this picture reflects his lament at what he saw as the future destruction of Britain.

'Evening Light, Snowdonia.' Kyffin Williams's influences were primarily expressionist. The painter with whom he felt an affinity was van Gogh, it was not self aggrandisement but a perpetual fascination,not least that they were both epileptic, that led to him to make comparisons.

'Miner Emerging from a Stope.' The War Artists’ Advisory Committee assigned Graham Sutherland to 3 weeks underground in Cornish tin-mines in 1942. He was moved by the shapes, colours and textures he found, writing to Kenneth Clark that he found this subterranean world thrilling.

Michael Andrews's picture shows the artist Leslie Davenport painting in his garden. Andrews liked to depict people putting themselves to the test, performing, succeeding or failing, as he saw it from a classic outsider’s perspective.

Elisabeth Vellacott's images of people in houses, gardens and landscapes have a timeless and magical air - as if figures from early Italian frescoes had changed their clothes and wandered into her home city of Cambridge.

Mark Gertler first spotted Natalie Denny at Augustus John’s New Year’s Eve party in 1927 and immediately asked her to sit for him. As charming as she was beautiful she was much-sought after and sat for various artists including Christopher Nevinson, John Armstrong and Harry Jonas

'In Andrew's Field,' (1913) Paul Nash focused his composition on an elm tree which stands tall surveying the landscape as a dominating and privileged witness of life. The shape of the tree is accentuated by the arc of birds flying above, themselves an emblem of freedom.

'An Old Elm, Blewbury, Berkshire,' (1946) at first sight appears an unassuming work with a spontaneous and fresh feeling, but there is a haunting, slightly mysterious quality to it, the suggestion of some deeper significance.