Richard Morrisさんのイラストまとめ

'Samson of a Man.' Harry Becker's great passion was to paint the life of rural Suffolk. In particular he captured farmworkers at their daily tasks ploughing, ditching, hoeing and leading horses in the first decades of the 20th century.

Lucien Freud's portrait of Suzy Boyt marks a move away from his earlier work of careful contours, flat surfaces and empirical precision to embrace a more gestural style influenced by Gustave Courbet and Théodore Géricault as well as Picasso.

'Planteuse des betteraves.' Van Gogh's 'The Potato Eaters,' his first ambitious painting grew out of the portrait studies of peasants he made during 1885 around Nuenen. He saw himself as a painter of rural life as a popular alternative to Baudelaire, the painter of modern life.

John Duncan Fergusson painted almost exclusively female sitters. From 1915, his portraits display a purity of form, line and a fascination with the shapes of objects. 'Grace McColl,' is an example of how he used colour, pattern & costume to suggest the personality of the sitter

'Portrait of a Youth.' Antonio Carracci’s (1557-1602) stylistic revolution saw a directness and intensity in his drawing which reflected an obsession for recording daily experiences and the people he saw around him.

To look at Raphael's 'Head of a Apostle,' is to stand at his shoulder while he works. His drawings are the direct evidence of his hand and eye, how he saw life, how he put his feelings about it on paper. He is a rare spirit whose art is a mirror of his idealism.

Gerald Brockhurst's portraits have an influence of the Italian Renaissance, in particular the work of Piero della Francesca and Leonardo da Vinci. Set in idealised landscapes, the sitter appears to float in the front of the picture plane.

In 1957, the writer Jean Genet described the studio of  Giacometti as 'a milky swamp, a seething dump, a genuine ditch.' There was plaster all over the floor and lumps of paint on every available surface. And yet, 'as if by magic, art grew from the rubbish.'

'The Laundress,' (1882) dates from the important period of Van Gogh’s career when he began to develop the key themes that would occupy him throughout his life. Inspired by the life and work of Jean-François Millet he turned to subjects from the rural life he saw around him.

'The Glade,' a slender tree in a clearing blazing like a flaming torch, became Roderick O'Conor's first painting to enter a major museum collection, that of the Museum of Modern Art in New York. It says much for the enduring, seductive pleasure of O’Conor’s use of colour.