Richard Morrisさんのイラストまとめ

Travelling with John Minton through Corsica in 1947, Alan Ross wrote: 'It was rugged travel; the hotels were basic and often dirty. We lived on bread, cheese, figs, pastis and wine. The bus journeys were slow and suffocating, with long stops for no particular reason.'

'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.

John Duncan Fergusson's drawing of
'Margaret Morris in a hammock at la Petite Farandole, Antibes,' (1914) is a typically beautiful piece of draughtsmanship done out of instinct and overriding interest in form, character and the joy of life.

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.