Richard Morrisさんのイラストまとめ

'Llyn-y-Cau, Cader Idris.' (c1960) If there is a stereotype of North Wales as a land of mountains, it has much to do with the art of Kyffin Williams who, for more than half a century, painted the rugged landscape of Snowdonia and its people in a style unmistakably his own.

Paul Feiler's style was for many years lyrical with harmonious tones and shapes that for all their abstraction, were based on his experience of the natural world, as in this work from 1947 which features the hamlet of East Dundry, near Bristol.

John Piper's Snowdonia pictures, produced between 1943-1950 have found more universal and consistent acclaim than works characterising any other single period of his career.
This is 'Llyn-y-Gader, Cader Idris.'

'Entering the Lemaire Channel, Antartica.' Prince Philip invited Edward Seago on a tour of the Antarctic in 1956, and his subsequent paintings, considered to be among his best, hang at Balmoral.

In a seemingly innocuous picture, Stanley Spencer's 'Crossing the Road,' is imbued with a subtle Christian message. Here, it is as if the young girl is a disciple, leading the old man through the streets of Cookham to the gates of St Peter, and to enter heaven itself.

'Tying Down the Rick.' Of the four Scottish Colourists, Francis Cadell was perhaps the most adept at drawing; his sketches stand out as a strong body of work in their own right.

This picture by John Nash resembles a small number of works he did of the moat at Grange Farm in Kimble. Instead of a sense of bleak desolation, this work is more optimistic and has less of Nash's introspection which showed in his work some years after WW1.

'Early Morning, Waxham Beach.' Edward Seago was largely self-taught and was mentored by leading landscape painters of the day including Alfred East and Bertram Priestman who advised him not 'to be unduly governed by what you see in art, but by what you see in nature'.

'Hairdressing.' (1947) The decade in which this work was painted, Geoffrey Tibble was strongly emphasising the surface arrangement of colours. The art critic Raymond Mortimer, then writing for the Spectator, placed him 'in the front rank of living English painters.'

'Blast Furnace,' (1948) was created as part of a commission from Everetts Advertising Ltd on behalf of their client, the Imperial Smelting Corporation and is one of several studies John Minton made in their industrial plants at Avonmouth and Widnes.