Richard Morrisさんのイラストまとめ

'The Tunneller.' The stalemate situation in the early part of WW1 led to the deployment of tunnel warfare. By mid-1916, the date of this picture by Christopher Nevinson, the British Army had around 25,000 trained tunnellers, mostly volunteers taken from coal mining communities.

'The Sixth Former.' (1969) Well known as a muralist, Fyffe Christie's oil painting and draughtsmanship are less well-known parts of his career but they represent an extraordinary range and inventiveness in figuration and landscape in the pivotal post-war period of Scottish art.

'Miner Emerging from a Stope.' In 1942 Graham Sutherland was commissioned as an Official War Artist to document the industrial work supporting the war effort. One of the chosen sites was Geevor Tin Mine in Cornwall which is shown here.

Even with Stanley Spencer’s renown as a portraitist and for his graphic skills, this 1923 portrait of his future brother-in-law Richard Carline (his sister Hilda would marry Spencer four years later) this is a superb example of his craft.

'Church Interior.' In 1947, Anne Redpath spent the summer visiting Florence and Siena. Her paintings of this time, mostly flat with little modelling, formed her first solo exhibition in Edinburgh later that year.

Austin Spare produced an extraordinary body of realist portraits as well as glamorous portrayals of Hollywood stars, painted from photographs to create his unusually stylised compositions. The picture from 1933 portrays Joan Crawford, the American film and television star.

@GeofHadfield I can't recall seeing any of his work in a national collection, Geof. The Barber Institute in Birmingham has a portrait of him by Manet but that's the closest I can think of.

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 England in the 1920s and 1930s.

'Tree in a Landscape.' Theodore Major's highly personal and symbolic vision of Wigan and the town's near landscape was intended he said 'to disturb and extend consciousness in the mind of the viewer. I wish to attack accepted standards, to awaken the mind to spiritual values.'

'The Rendezvous.' In 1962 William Russell Flint was one of only nine members of the Royal Academy to have his work exhibited in the Diploma Gallery during his lifetime. The art critic Eric Newton said he had made working in watercolours 'his permanent home.'