Richard Morrisさんのイラストまとめ

'The Green Pumpkin.' (1943) Duncan Grant remained for two decades one of England's most celebrated painters. Kenneth Clark linked his name with Matthew Smith, as artists who 'created their own world through the joy of the senses.'

'Petra,' (1942) is an important painting in David Jones's work. The pair were engaged & though they parted, Jones continued to paint Petra's portrait. This was his final portrait of her and the last picture he would paint for several years, soon afterwards he had a breakdown.

'Scutaria, Montenegro,' is one of nine paintings Stanley Spencer made on a painting expedition through what was then Yugoslavia in 1922; it was a country he knew well having served there during WW1.He travelled with four Carline siblings, including Hilda who he would later marry.

John Nash was the quintessential 20thC painter of the English countryside and when we want to summon up an image of an idyllic summer's day, it is something like 'A Country Lane,' that we think of and not one of Paul Nash's paintings.

'Poem, Strange November.' (1953) Alan Reynolds's romantic landscapes of the 1950s perhaps owe more to Samuel Palmer's Kent than to the flat Constable country of his native Suffolk. The spiky botany of the foregrounds carried a faintly menacing air generic to much 1950s art.

'Boys Fishing.' (1940) William Roberts can be seen as the urban, secular form of Stanley Spencer. His style changed little over the years, favouring solid but friendly figures, and positive, celebratory images of everyday life.

This late watercolour by Paul Nash was drawn in the early 1940’s, at a time when Nash seems to have preferred watercolour to oil for his landscapes. From 1938 his pictures become increasingly relaxed, he worked more in terms of tonal gradation and intensity of colour.

Graham Sutherland's 1978 painting of Lyre Birds comes close to being seen as mythological animals in his Bestiary. He said he was 'lured to their promise of surprising beauty,' after a friend sponsored one at London Zoo for his birthday.

Painted in 1974, this is one of Lucien Freud’s most probing self portraits. To depict himself was an act of estrangement. ‘You’ve got to try to paint yourself as another person,’ he said. ‘Looking in the mirror is a strain in a way that looking at other people isn’t at all.'

'Coal Miners,' (1949) was painted three years before Keith Vaughan visited the Nicolas de Staël exhibition at the Matthiesen Gallery in Bond Street. He realized direct representation was stifling his development and began to evolve a synthesis between observation and abstraction.