Richard Morrisさんのイラストまとめ

In 1941 Keith Vaughan reported to Bulford camp, near Amesbury in Wiltshire and at the end of his first year in the army had filled five books with sketches of his fellow recruits. The strong contrast of black or sepia shadow make these works very dramatic.

In 'Essex Housing Estate,' (1954) Edward Bawden creates a world that, without being cloyingly nostalgic, is full of charm, understated sophistication, and delicate fancy. His teasing yet reassuring style and of altering perspective owes much to the Cubists.

'Var, South of France.' In 1933 Sir Matthew Smith moved to Cagnes-sur-Mer in the South of France between Nice and Cannes and the Hôtel Le Cagnard became his base for the next two years. This view looks towards Cap d'Antibes.

Henry Lamb painted 'The Traveller' in 1911 for Lady Ottoline Morrell with whom he had a passionate affair. The subject of the painting is unknown, but at the time Lady Morrell inspired Lamb to create allegorical pictures possibly influenced by the Ballet Russes and Picasso.

Winifred Knight's 'The Potato Harvest,' (1918) shows a frieze of male and female workers in social and economic harmony on the land. The distant fields have been flattened into a patchwork quilt of contrasting colours, out of which rise strong verticals of haystacks and ladders.

@TrentArtGallery Obviously subject matter counts so it'll be interesting to see how the pavement artist fares on April 28th.

'Ambleside,' (1786) is a particularly good example of Francis Towne's very flat, economical, ‘modern’ watercolours. He was rejected by the Royal Academy 11 times for membership but despite this successfully lived and worked outside of London’s influence.

The river Arveyron is a short tributary of the river Arvea and rises from the base of the Glacier des Bois in Chamonix. In this watercolour of 1781, Francis Towne disregards traditional perspective, and gives an abstract vision of the landscape.

Richard Eurich's paintings are of weather, light and atmosphere.Their facture is erased in reproduction, which makes them look rather bland. In reality, his brushstrokes are visible and various: almost pointillist in 'Staithes,' (1938) giving the picture a specific physicality.

Grace Henry was overshadowed by her more famous husband Paul Henry - she painted a number of interesting representational pictures and though she studied with André
Lhote for a time, had a leaning towards Fauvism rather than becoming a Cubist.