Richard Morrisさんのイラストまとめ

Stanley Spencer 'The Apple Gatherers.' This picture was painted in Wisteria Cottage in Cookham, an empty house which Spencer used as a studio. He said it was here he experienced an intense sense of connection with nature and an almost ecstatic self-awareness.

'The Nuremberg Trial,' Laura Knight. Flown to Nuremberg as an official war artist, Knight's portrait of the defendants departs from her usual realism: the back of the courtroom merges into the smoky ruins of the city. 'Death and destruction had to come into the picture,' she said

'Portrait of Stanley Spencer,' Unity Spencer; she wrote her father 'needed to be alone a great deal,not because he had a ‘monkish’ temperament but simply that he had to go into himself, rummage around,walk about inside himself; this was his source of strength and conviction.'

Norman Cornish 'Self Portrait.' The most famous of the pit painters. He was once described as a 'mystic with a total grasp of what makes matter vibrate, from coal to colliery rows, from the workings 1,500ft below ground to the bus stop and the chapel at the end of the street.'

'Holywell Park' Thomas Gainsborough. Although Gainsborough lived in Ipswich for seven years, this rare early topographical work of the artificial ponds created to supply water to Thomas Cobbold's brewery, is his only known depiction of the town.

The Deluge remains one of the most familiar artworks of the first half of the 20th century. Winifred Knights’ 6ft canvas is packed with 21 anguished, beseeching figures and a worried-looking dog. The nominal subject is the story of Noah’s ark, without an ark in sight.

In 1932, Walter Sickert painted 'Miss Earhart’s Arrival' from a photograph in the Daily Sketch; shown on her arrival at Hanworth Air Park in Middlesex, Amelia Earhart is almost lost in the crowd of well-wishers braving the rain to celebrate her solo crossing of the Atlantic.

Michael Rothenstein RA 'A Dish of Fruit' w/colour in a polished chrome frame, dimensions 37cm x 46 cm, with frame 55cm x 64 cm £2200

Peter Doig 'One Hundred Years Ago (Carrera).' The painting was inspired in part by an image on the inside gatefold of the record An Anthology by Duane Allman. The figure in the canoe was based on American bassist Berry Oakley, a founding member of the band.

This pre-Reformation altar frontal is a rare survival of the type of devotional textiles that were once common in wealthy 16th-century English households. It shows Christ and his 12 Apostles standing under canopies against a velvet background scattered with gold fleur de lys.