Richard Morrisさんのイラストまとめ

'Landscape.' Jean-Baptiste-Camille Corot was the pre-eminent French landscape painter of the first half of the 19th century. Corot's France is a melancholically beautiful place, wan and silvery.

'The Clyde from Corrie, Arran,' by
Mary Nicol Neill Armour.

'The Wild Beast Show,' Edward Seago. An early work based on Seago's experience of joining Bevin's Travelling Circus aged 18. The striped canvas in the picture cleverly forces the eye to the cages where the lions and tigers are housed.

'The Book of Woman’s Hour,' edited by Joanna Scott-Moncrieff (1953). The BBC radio programme Woman’s Hour had a huge audience in 1950s Britain, and this related book was filled with top tips for housewives. The designer of the striking jacket is not credited.

Jacqueline Morreau's 'Under the Sea, Three Fates' is rendered in swift strokes of pen and wash. Figures that are both fragile and substantial, floating in water in which the destiny of a recumbent woman is being decided by drifting deities.

Another good example of Edward Bawden's Merrie England sentimentality for a cover of Ambrose Heath’s Good Food series. The figure on this cover was based on a one-eyed farmer named Frederick Mizen who was fined for stealing 40 pounds of jam from a local greengrocer.

Sylvia Gosse 'Sickert's Studio.' This particular studio was at 140 Hampstead Road, London, the address of the 'Sickert and Gosse School of Painting & Etching.' Gosse took over responsibility for the organisation and finances of the school until its closure in 1914.

Virginia Woolf' by Vanessa Bell. Bell's career started gathering pace after Roger Fry’s Manet & the Post-Impressionists show at the Grafton Gallery in 1910. In Paris she had seen the work of Cézanne, Seurat & Degas all of which had an electrifying effect on her world and her art

The female nude was Rose Hilton's chief subject, building on the legacy of Bonnard and Matisse, the 90s saw abstracts, layered fields and veils of deliquescent colour, pointillist dots & dashes & dancing forms, her postmodernist homage to Patrick Heron.

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.