Richard Morrisさんのイラストまとめ

The two divergent strands of Christopher Wood’s life, the artist at the heart of social and artistic circles of Paris and the longing for the simplicity of life,came together when he visited Tréboul in Brittany in the summer of 1929.

'Sunset, Arthur's Seat, Edinburgh.' Albert Goodwin focused on light and atmosphere in his works. His use of grey in this work from 1909, frames the reds, oranges and yellows, creating a stunning sunset; he chose to paint sunsets in the style of Turner, the artist he admired most.

With its low horizon, simple composition and focus on clouds, the sea and the beach, this work of Trouville in Normandy by Eugène Boudin is reminiscent of the pictures by the 17thC Dutch realist landscape artists he admired at the beginning of his career, especially van Ruysdael.

'Roundhouse at High Bridge,' (1911)
is a powerful example of George Luks' depiction of city life in a period of change to the urban American landscape. The trains here were painted in freezing temperatures; a healthy sort of manliness was expected of artists in the Ashcan School

'Dazzle Ship on the Clyde.' (1919) Early in WW1, Steven Spurrier was called up for military intelligence then transferred to the Royal Navy as a dazzle officer on the Clyde; he was responsible for camouflaging various ships including HMS Argus, the world’s first aircraft carrier.

'Spinning Man.' (1953) Elizabeth Frink represented the solitary male figure throughout her career; she explored the complexity of the human condition, tackling not only the strength, courage, and beauty of mankind, but also its propensity for avoidance, pomposity and conceit.

'Baigneuse assise à Cassis.' (1913)
Henri Charles Manguin was a central figure in the Fauvist movement; particularly noted for capturing the vivid colours of the French riviera and the joie de vivre of its nude bathers. He was called 'the voluptuous painter,' by Apollinaire.

In 'The Southern Sea,' from 1910, John Lavery addresses the immensity of space. Viewed from the Bay of Tangiers looking towards the Rif Mountains, it is a moment of sepulchral calm; the focus is on essentials, the line of the horizon and the breaking waves of the incoming tide.

'The Riddle of the Sphinx.' The 1880s were a period of intense creation for Rodin; he used drawing to liberate his creativity and to outline his preliminary thoughts on designs for sculptures; he drew mainly from imagination, to test his anatomical and historical knowledge.

There are only fifteen recorded pictures in which Gauguin portrayed his own children, this is his daughter Aline, at three and a half (c1880) Gauguin was said to be visibly touched by the sight of his children 'disarmed by sleep and lost in their dreams.'