Richard Morris: Art History in a Tweet

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Elioth Gruner's paintings from the era of the First World War reveal the influence of Whistler in his ability to capture the ephemeral effects of light and heat, as can be seen in this painting of an afternoon at Bondi Beach in Sydney from 1915.
John Perceval's work from 1957 depicts an area of the Victorian coastline in Australia; a child prodigy who developed his art whilst stricken with polio as a schoolboy, his meeting with artist Arthur Boyd in 1940 was one of the pivotal moments in the history of Australian art.
Penleigh Boyd's work is similar to that of fellow Australian, Arthur Streeton; the palette and the application of short dabs of paint to suggest shapes and figures. 'Portsea Pier,' (1922) reveals his remarkable skill in transferring a hot, still day to canvas.
'The Barge at St Tropez.' (1926) Pierre Bonnard made three separate trips to Saint-Tropez, on the Mediterranean coast of France in 1926, probably painting this work in the summer following his move to Le Cannet earlier that February.
'Stonehenge at Sunset.' (c1903) Like Ruskin, Albert Goodwin responded to landscape with an almost religious fervour and understanding; but he interpreted it with greater eclecticism, experimenting in the style of Whistler, Ruskin’s great adversary in the field of aesthetics.
Portrait of Mrs Denise Field Reid, (c1938) is an early, rare and unusual painting for William Scott who is most often admired for his kitchen-table still lifes, featuring pots, pans, bowls, plates of mackerel.
Robert Duckworth Greenham had a great eye for capturing outdoor scenes of English social life. He painted mostly in Suffolk and Essex. This picture 'Beach at Clacton,' was painted one unreliable summer's day in July 1962.
'Place d'Aix, Marseille.' (1922) Though of French descent, Thérèse Lessore was born in Brighton, in 1884. She held close ties to the Bloomsbury group and was married to artist Bernard Adeney and later became the third wife of Walter Sickert.
'A Pyrenean Farm.' (1975) Tristram Hillier first visited Spain on a hiking trip across the Pyrenees in 1931, writing:'the shimmering horizon was like the gloss of a lion's back.' He especially loved the translucent light found in the country’s south.
'West Pier.' (c1950) Evan Charlton was catalogued as a British surrealist. It's a great pity because it has somewhat ruined his wider reputation as a class painter with little lasting fame compared with contemporaries such as Paul Nash and Wyndham Lewis.
'Over the Sea to Eigg,' (1950) was most likely painted by Winifred Nicholson from Sandaig in Ross-shire in Scotland. It's a great shame her work has been neglected and goes in and out of fashion; she had great skill in painting light to inform drama.
Wyndham Lewis' study shows his wife Froanna. In the 1930s his eyesight was declining as a result of an undiagnosed tumour pressing on his optic nerve, which might account for the prominence of red in his later work.
Reginald Brown's picture from 1931 shows Battersea Power Station at dusk. Brown was originally a lighterman on the Thames before a spectacular breakthrough after showing two works in a mixed show at the Goupil Gallery in Regent Street, London.
'Studio Interior.' (1950) Fred Cuming was considered one of the finest painters of his generation. Much of his work, painted in the studio in this picture, celebrated southern English coastlines; the sea and skies of Hastings, or Rye in Sussex.
'The Barber's Shop,' was painted in 1946 and abounds with hope and optimism through a return to everyday life after WW2. This return was met with great relief by William Roberts, who had produced only sporadic wartime subjects.
Climate protesters glue themselves to National Gallery artwork…
At the beginning of the 1950s Nicolas de Staël abandoned his previous gloomy abstraction and returned to a more luminous style; 'Mediterranean Landscape,' is a good example of his quest to reconcile figuration and abstraction and capture reality.
Feliks Topolski's dynamic style of drawing was ideal for capturing everyday activities. Sitting on a bar stool, using pen and wash, he sketched this picture of a market porter at Les Halles, the Paris central fresh food market which was demolished in 1971.
'Megavissey.' (1945) John Minton lived in Cornwall for several years after being discharged by the British army. He found his previous feelings of desperation and anxiety were overtaken by a powerful creative awakening; leaving the real world for one of fantasy.
There was a time not that long ago when there was room for stoicism, consummate draughtsmanship, poetry and quiet contemplation, virtues found in Frederick Cayley Robinson's work writes @ahistoryinart ⬇️ 'Childhood' by Frederick Cayley Robinson (1862–1927) @walkergallery
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John Lavery's painting is of Beaulieu-sur-mer, a small town between Nice and Monaco, seen from the peninsula of Cap Ferrat in 1920. The morning haze has lifted and a white boat has put out into the bay; the tower of the église St Michel can be seen in the centre of the painting.
'The Thames at Night.' (c1900) Not a great deal is known about William Henry Simpson's career. He studied at the South Kensington Schools and exhibited at the Royal Academy before accepting the position as the first principal of the Grahamstown School of Art in South Africa.
Paul Maitland's picture from 1890, shows the striking effects that can be achieved by using pastel on wet paper, especially in the creation of a velvet shadowy darkness. The Hollywood Arms is a public house which is still standing in Chelsea, London.
We can see in Henry Moore's 'Three Female Figures,' (1949) how much the development of this later work owes to his 1940s shelter drawings. Here he divides the surface of the body into panels that accentuate sculptural three dimensionality and give an overall feeling of solidity.
On a sunlit afternoon on May 21, 1934 a crowd is gathered in the grounds of Trereife House, Penzance in Cornwall to celebrate Whit Monday. This painting of a fête champêtre by Harold Harvey shows how his compositions had become more stylised and his figures more sculptural.
'Dalston Junction.' (c1972) This richly worked, characterful urban landscape, epitomises Leon Kossoff’s fascination and preoccupation with London, what his tutor David Bomberg ably described as ‘the spirit in the mass.'
'Logans Rock, Porthcurno.' (1926) demonstrates the height of Harold Harvey's development in Cornwall, and is part of a series of paintings he composed in the 1920s; all share an elevated viewpoint, a dramatic diagonal composition and vibrant colour.
John Lavery had penchant for depicting swimming pools. This was the pool at the Villa L’Enchantement near Cannes which he rented in 1928. Rudyard Kipling, who rented the house in 1934 tells us that it was equipped with three bathrooms and had a large studio on the ground floor.
Christopher Wood first visited Brittany in 1929 and saw it in terms of his memories of Cornwall, seeking out unspoilt images in the region's picturesque simplicity, especially the churches, fishing boats and town squares.
'Westminster Sunset.' (1900) It was Ruskin who encouraged Albert Goodwin to paint in watercolour, realising that it suited his talent better and that it was the ideal medium for the evanescent and poetic effects at which he excelled.
'Lady with Parasol.' (1914) August Macke depicted his wife, the writer Elisabeth in over 200 portraits, much of her work was autobiographical. Der Blaue Reiter formed by Kandinsky, Franz Marc and Macke ended with the outbreak of WW1 in which Marc and Macke lost their lives.
'La Rivière,' is an early example of Raoul Dufy's work and was painted in 1905, a crucial year in the development of his career and Post-Impressionist art. His style dramatically changed after seeing paintings by Matisse, Derain and Vlaminck at the Salon d'Automne.
Paula Modersohn-Becker lived the majority of her life in the village of Worpswede, near Bremen, where there was a small artists' colony. Most of her paintings are of the village women and their children who remained at home while the men worked the land. This is from 1905.
'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.
'Loch Snizort, Isle of Skye.' As she grew older, Anne Redpath's work was increasingly expressive and loosely painted. This was learnt from Matisse, and from her father a designer of tweeds. 'I do with a spot of red or yellow in harmony with grey, what my father did in his tweed.'
Eugène Boudin devotes two thirds of 'Bénerville,' (1890) to the large expanse of sky, the mastery of which re-affirms Corot's description of Boudin as 'the king of the skies.' A thin silvery band of sea to the left marks the distant horizon, populated with yachts and steamships.
'Greenhouse Interior.' (1934) This composition by Charles Mahoney brings to mind the work of his friend and contemporary, Eric Ravilious. The scene here, is inside a glasshouse in Mohoney's garden at Wrotham, north west of Kent.
What I enjoy about Bernard Hailstone's portraits is his unerring ability to convey the charisma and personality of the sitter. That nuanced facial expression, the colouring, the quizzical look. This is Able-Seaman David Addison, from 1945.
'Herald of the Night.' (1897) John Arnesby Brown's distinctive approach to painting are panoramic views, dotted with human figures or animals which are often dwarfed by impressive skies, so characteristic of the Norfolk landscape.
'Olive Grove.' (1923) Despite his contact with the avant-garde, Cedric Morris based his landscape paintings on direct observation of nature. At this time in his career, he was using characteristically strong colours and bold forms in his landscapes.
'Swanage, Low Tide.' was painted in 1935, the year Paul Nash was commissioned by the poet John Betjeman to produce the shell guide to Dorset as part of The Shell Guide series. Nash lived in Swanage at No.2 The Parade; the town was the inspiration for a number of Surrealist works.
'Still life of Tomatoes.' (1939) The light is an embracing feature of this work by Nora Heysen; defining form and colour. Heysen was first woman to be awarded the Archibald Prize in 1938 and the first woman appointed an Australian war artist.
Picasso painted this watercolour of a convincing solitary apple in 1915 to console Gertrude Stein after her brother Leo, sold a painting of five apples by Cézanne. The painting is an intriguing mix of styles though nonetheless, recognisably Cubist.
William Orpen's radiant colours and his luscious textures celebrated not only wealth but sensuality, a quality deemed unnatural in the early years of the new century if you weren't Italian or French. This is his 'The Eastern Gown,' from 1906.
John Everett, a distant relative of William Orpen, departed for his first sea voyage in 1898 and afterwards made a speciality of marine scenes. This seascape was made in the Gulf of Mexico in 1920 aboard 'The Birkdale,' which Everett embarked in Bristol.
Benjamin Haughton was a landscape painter who studied under Sir Hubert von Herkomer. This painting, 'Man Crossing a Field at Dusk,' (1908) depicts Ottery St. Mary in Devon, not far from Haughton's birthplace in Dawlish.
'Spring Flowers' is an early work by Cedric Morris from 1923, and shows both his vibrant use of colour and his richly-textured painted surfaces. He didn't use underdrawing but painted straight onto the canvas, having a complete vision of a painting in his head before he began.
'Man with a Scythe.' Harry Becker's work needs to be re-assessed. An artist still not widely known outside East Anglia, he was the last artist of note to record the turning of a farm's year, and a way of life that had existed since the Middle Ages.
Harry Becker's move from London to Wenhaston in Suffolk in 1912, marked the definitive journey of his life. After many frustrations and struggles, he found his mature expression recording the final years of an ancient rural farming system and a countryside, he deeply loved.
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