Richard Morrisさんのイラストまとめ

Walter Sickert's 'The Gallery at the Old Mogul,'(1906).is thought to be one of the earliest paintings in the world of a cinematic performance. The Old Mogul was the original name for the Middlesex Music Hall in Drury Lane variously known as 'The Mogul Tavern' or 'The Old Mo.'

This watercolour sketch from 1913 of a man ploughing autumn fields by George Clausen was painted at a time of great unrest in the countryside. Labouring families had been drifting to the burgeoning industrial centres for several generations and the crisis of WW1 was a year away.

Writing about the children she painted, Joan Eardley said they would not keep still: 'I watch them move about and do the best I can. They are completely uninhibited . . . full of what’s gone on today, who’s broken in to what shop and who’s flung a pie in whose face.'

William Scott painted exceptional nudes and landscapes, but the tabletop bowls and pots and pans remain his trademark: the subject of his pictures towards the end of the Second World War, they were still there in his more minimalist work of the 1970s.

'Barges on the Canal.' (1919) The subject of barges was to fascinate David Bomberg. Brought up in the ghettos of the East End of London where poverty was the norm he felt a natural affinity with the under-privileged, outsider figures, that lived on the barges of London's canals.

Anthony Devas's picture shows models changing backstage at a Norman Hartnell fashion show around 1952. Hartnell was the star of London couture during the interwar years, gaining international fame as dressmaker to the British royal family.

In this picture, Henry Moore's subject is the aged body. He made this drawing of his own hands when he was 81 and suffering from ill-health. 'Hands can convey so much' he said, 'they can beg or refuse... they can be young or old, beautiful or deformed.'

'An Ancient Harbour.' (1923) James Pryde’s love of theatre comes to show in this dramatic interplay of darkness and light, architecture and nature. The human figures, though shown in the foreground, are dwarfed by the scale of their surroundings.

In Sickert's drawing from 1902, Mrs Barrett’s neat hair, fur stole and pearl necklace imply a certain social standing but we know she was a flower seller. The bedstead Sickert kept in his studio is reflected in the mirror so we know this picture was made at 8 Fitzroy Street.

Painted around 1948, the subject of the returning sailor was still pertinent to a Europe that had recently demobilised its armed forces following WW2. The sailor in this work by William Roberts seems to be from the French Marine Nationale according to the red pompom on his cap.