Richard Morrisさんのイラストまとめ

'The Tea Break.' In the years before WW1 William Roberts was a pioneer, among English artists, in his use of abstract images. In later years he described his approach as that of an 'English Cubist.'

'Blustery Day, Brighton Front.' Marguerite Steen, William Nicholson's partner, said after his death that he always loved Brighton: 'It's Regency flavour, its sweep of windblown promenade, its mélange of robustious vulgarity with Victorian decorum.'

This is one of several views Edward Burra was inspired to paint during a visit to Dartmoor in Devon with his sister Anne in September 1973. The holidays he took with her were very important to him; by the 1970s he was in poor health, and landscape had become his passion.

Look closely at the milk bottle and apples in Ronald Ossory Dunlop's still life and you'll see how lighting and shadow animate and dramatise the variety of forms and textures which are revealed by placing them side-by-side.

Zdzislaw Ruszkowski's picture shows his daughter Anna standing on the edge of Finchley Road Baths in London. This is one of the first paintings to show what would become a lifetime obsession with water.

Painted in the mid-1950s, John Nash's dramatic composition relies on the juxtaposition of cliffs and zigzag sea defences for its primary impact. There are several of these structures on the North Norfolk coast including Happisburgh, Hunstanton and Caister.

'After Gainsborough.' (1979) The visionary approach to landscape adopted by 18th century Romantic artists, such as Thomas Gainsborough had a profound influence on John Piper. Like many artists before him, he exercised his admiration by making copies of their work.

Norman Bowler first met John Minton in the summer of 1952 and frequently accompanied him on his social rounds in London and they also made several trips abroad. Bowler posed for many drawings as well as two major oil paintings.

Like Auerbach and Kossoff, Joan Eardley made expressive, luminous figurative paintings. She worked exclusively from life on a few motifs she cared passionately about and dug deep into her subjects to bring a whole world into existence through paint, that transforming substance.

This pastel 'La Coiffure,' (c1892) is a study for the oil painting of the same title, once owned by Henri Matisse. The subject of the coiffure, where a solitary woman combs her hair or has it brushed by a maid inspired some of the finest pictorial inventions of Degas's last years