Richard Morrisさんのイラストまとめ

Here (1908) James Pryde has taken a familiar Edinburgh landmark, The British Linen Bank in St Andrew's Square, and transformed it into something nearing an ancient relic. Sightseers and workmen fill the foreground adding to the scene's theatricality.

Frances Hodgkins was a New Zealander who came to Europe in 1901. In the 1920s, she developed a strong fascination with the English landscape and revisited many familiar places including Flatford Mill in East Bergholt, Suffolk which John Constable painted in 1816.

In 1964 Sir Sydney Nolan visited Antarctica for eight days and recorded his impressions in watercolour on 200 blank postcards he had taken along for this purpose. This work is one of about fifty paintings Nolan executed in the following eighteen months.

Throughout his artistic career, James Cowie stood apart from his contempories; he was less interested in colour than tone, and rejected bravura to pursue effects of subtlety and mystery. This is 'Bellshill Schoolgirl,' from around 1935.

The interior of a wood was one of John Nash’s favourite subjects. The paleness of the tonality is uncharacteristic, but indicates a light-filled glade surrounded by a variety of trees, where the canopy of leaves isn't too dense to prevent sunlight filtering to the wood floor.

'Lady with Parasol.' (1900) Inspired by the artist Arthur Melville, JD Fergusson once said: 'Although I never met him or saw him, his paintings gave me my first start: his work opened up to me the road of freedom not merely in the use of paint, but freedom of outlook.'

When the guns on the Western Front fell silent on 11 November 1918, the formal surrender of enemy forces was hastily arranged. On the evening of 15 November German naval officers arrived on the deck of HMS Queen Elizabeth and Sir John Lavery was on hand to record the event.

Painted in 1949, 'Jockeys Mounting,' is representative of the style William Roberts had been perfecting since WW2. Rather than rethink his pictorial language, he allows his pictures to rely for their impact on unusual and startling visual positioning.

In 'Window Over London Street,' (1901) we see William Orpen's masterful handling of tone, composition and atmosphere. The window echoes the proportions of the canvas. Here too are echoes of Vermeer's celebrated interiors.

Hilda Carline painted her self portrait and that of Stanley Spencer in 1923, two years before they married. They both appear unsmiling, serious, reflective, and have a strong sense of three dimensionality reflecting an equal interest in 16thC European portrait painting.