Richard Morrisさんのイラストまとめ

In this 1913 painting Malcolm Drummond depicts an audience seated within a darkened cinema. His subject matter may have been influenced by his one-time tutor Walter Sickert, who also depicted an audience watching a film in 'Gallery of the Old Mogul,' seven years earlier.

Masterpiece: George Frederic Watts painted 'Hope,' in 1886. The image of a weary, blindfolded figure is easily readable symbolism fit for repurpose. Martin Luther King based a sermon on it and Barack Obama used the painting's inspiration for the manifesto he published in 2006.

John Craxton's picture suggests the inspiration of Samuel Palmer and William Blake. Craxton drew and painted landscapes which included shepherds or poets as projections of himself. 'They were my means of escape and I identify with a shepherd and poet as a lone figure,' he said.

Gwen John's 'Girl With a Cat,' is filled with restrained emotion, and has something of the tranquillity of a Vermeer coupled with the intensity of a Rembrandt portrait. It was painted when she was living in Meudon, sleeping in what was virtually a garden shed with her cats.

Symbolist art seeks to simplify and intensify images. Felix Vallotton's 'A Fine Evening,' uses the starkness of a woodcut engraving to create its abstracted effect. The work is clearly influenced by the Japanese prints that were hugely popular with the French avant-garde.

'The Birdcatcher and the Poet.' John Craxton's painting immediately suggests the inspiration of Palmer and Blake. In the 1940s he drew and painted landscapes which included shepherds or poets: 'As projections of myself. A shepherd is a lone figure, and so is a poet.'

Rockwell Kent possessed the ability to render parallel universes: creating compositions that were representative, the realism that he claimed to adhere to, and the modernistic,expressing the intuitive versus what he physically viewed.

In 1925 Maurice de Vlaminck moved to the Eure-et-Loire region of Normandy where he lived for the rest of his life. Here he was able to paint his favourite landscapes using his rich, brooding, palette to express 'the one idea which excused everything: to say & paint what I felt.'

The directness and intensity of portraits made from life, like this portrait, lay at the heart of Annibale Carracci’s stylistic revolution & his obsession for recording daily experiences. His paintings became more descriptive of everyday life, making the world much more palpable.

There is nothing fussy or over-worked in Geoffrey Tibble's work which looks to the domestic impressionism of late 19th century Paris, to Degas and Sickert.