Richard Morrisさんのイラストまとめ

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.'

Influenced by the European modern movement, Ethelbert White was one of the most distinctive of English painters of the 1920s and 1930s. Aesthetically he remained close to Paul and John Nash and with them he was an active member of the London Group throughout the inter war period.

@swaledalebirds_ Good suggestions. I'll go with the feet (and the legs) of Venus.

William Roberts's 'The Punt,' (1970) looks to be stuck in the reeds of the River Cam, possibly during the lively May week celebrations in Cambridge where those taking part soon know the difference between respect and tolerance.