Richard Morrisさんのイラストまとめ

'Boys Fishing.' (1940) William Roberts can be seen as the urban, secular form of Stanley Spencer. His style changed little over the years, favouring solid but friendly figures, and positive, celebratory images of everyday life.

'Le Port.' (1911) Fishing boats, and other small sailing craft congregated at the site that most attracted Maurice de Vlaminck whenever he visited the port of Le Havre. Though there's a hint of Cubism, Vlaminck followed Cézanne's layering technique to add dimension and weight.

'Moonlight Shripwreck.' (1901) The turbulent seascape depicted here must have been a familiar site for Thomas Moran, having travelled over oceans on a number of occasions to Europe and commonplace in the waters off his hometown of East Hampton, Long Island.

'The Print Maker.' (c1860) Honoré Daumier's career was one of the most unusual in the history of 19thC art. Famous in his time as France's best-known caricaturist and one of the period's most profoundly original realists, he remained unrecognised in his importance.

When David Teniers the Younger painted 'Spring,' in around 1644, he personified the season by dressing a man in a red waistcoat with a bushy beard carrying what appears to be an olive tree. In the background, a figure with a stick (representing Winter) is walking away from us.

Painted around 1948, the subject of the returning sailor was still pertinent to a Europe that had recently demobilised its armed forces following WW2. The sailor in this work by William Roberts seems to be from the French Marine Nationale according to the red pompom on his cap.

In 1920 Sir John Lavery painted one of his most abstract compositions. 'The White Boats,' was painted on a precipitous path from La Turbie, near Monaco. Fringed by limestone rocks, the calm surface of the water had him reaching for his deepest cobalt.

'Church Interior.' In 1947, Anne Redpath spent the summer visiting Florence and Siena. Her paintings of this time, mostly flat with a little modelling (Matisse-like) formed her first solo exhibition in Edinburgh later that year.

'The Plough,' is representative of the style of painting William Roberts began perfecting during WW2 and became his signature style for the next three decades; a simple pictorial language with strikingly cubist figures. This is from 1944.

'Ox Stalls.' (1955) Julian Trevelyan had been part of the surrealist movement in the mid-1930s but had quit the group after just two years, preferring to remain independent. For me, his post surrealist work is much the best of his career.