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Richard Morris @ahistoryinart.bsky.social · 48m

'Girl in a Yellow Sweater.' (1935) Denton Welch was a contemporary of John Minton and Keith Vaughan and was associated with the neo-Romantic movement. The first exhibition of his work in 40 years is at John Swarbrooke Fine Art, 11 Fitzroy Square, London from 10 to 30 October.

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Richard Morris @ahistoryinart.bsky.social · 3h

Very good news to see that an exhibition of Denton Welch's work is on display at John Swarbrooke Fine Art at 11 Fitzroy Square, London from 10 October to 30 October. This portrait of Welch (1935) is by his friend Gerald Leet.

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Richard Morris @ahistoryinart.bsky.social · 5h

Corot produced this work of Notre-Dame church at Mantes (c1860) when he was particularly interested in the study of architecture. He made many paintings and drawings of churches during this period, although most are of much grander buildings such as Chartres Cathedral.

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Richard Morris @ahistoryinart.bsky.social · 17h

'Berlin at Night.' (c1860) Described by Degas as the ‘greatest living master’ during his lifetime, Adolph von Menzel is less remembered today outside of Germany than the French painter who admired him; his career deserves far greater appreciation and study than it receives.

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Richard Morris @ahistoryinart.bsky.social · 19h

Stanley Spencer painted a number of landscapes in and around Maidenhead in Berkshire, of which this work from 1939 is a notable example. It was a rural area of rolling countryside not far from his home in Cookham and where he first went to art college before going to the Slade.

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Richard Morris @ahistoryinart.bsky.social · 23h

Known for his unforgiving and often critical depictions of German society during the Weimar Republic, this self-portrait by Otto Dix (1912) pays homage to the work of the Italian Old Masters - the carnation was a popular motif in northern Italian Renaissance painting.

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Richard Morris @ahistoryinart.bsky.social · 1d

In the 1870s, Armand Guillaumin developed an interest in viaducts and bridges as an employee of the Paris-Orléans railway. This landscape was painted in the upper valley of the Marne in northeastern France, only a few miles from central Paris.

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Richard Morris @ahistoryinart.bsky.social · 1d

'The Goldsmith's Workshop.' (1917) From the turn of the 20thC, Laurits Andersen Ring turned away from landscape painting to increasingly address themes of commerce at a time when traditional crafts were threatened by imports of cheap goods.

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Richard Morris @ahistoryinart.bsky.social · 1d

Yes, it has that LA feel to it.

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Richard Morris @ahistoryinart.bsky.social · 1d

Afternoon Television.' (1967) There has always been a strong ironic Pop Art vein running through Maxwell Hendler’s work, especially through his painstakingly realistic still-lifes of the 1960s - this took five years to complete.

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Richard Morris @ahistoryinart.bsky.social · 1d

Meijer de Haan arrived in Pont-Aven around 1889 to take painting lessons from Paul Gauguin, in exchange for acting as his secretary and general factotum, a time he came into his own as a painter and developed his personal style. This work dates from 1890.

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Richard Morris @ahistoryinart.bsky.social · 2d

The model in Ramón Casas' 'The Morning,' (1900) serves as a pretext for him to achieve powerful effects of light, colour and texture, using the subtlest of means and the slightest of details - the finial of the bedpost stands out for its linearity and form against the quilt.

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Richard Morris @ahistoryinart.bsky.social · 2d

Laurits Andersen Ring's fascination with artificial lighting and his dramatic use of strong chiaroscuro is evident throughout his career; he often explored themes of loneliness and the human condition. This is from 1899.

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Richard Morris @ahistoryinart.bsky.social · 2d

'Tea Table.' (c1940) Ruskin Spear's domestic life was a major focus for his work as were the settings in pubs and everyday scenes in Hammersmith in London, they allowed him to record the atmosphere, incidents and relationships that caught his eye.

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Richard Morris @ahistoryinart.bsky.social · 2d

Camille Souter painted on the edge of the establishment and yet was credited by many as being one of the greatest Irish painters of the 20thC - this still-life (1976) is typical of her sure sense of form and spontaneity.

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Richard Morris @ahistoryinart.bsky.social · 3d

'Miss Collins.' (1924) William Beckwith McInnes won the Archibald Prize (Australia's prestigious award for portraiture) seven times. Writing in defence of his style of realism: 'in Australia we have not been bitten by Cubism or Futurism or other isms … and I am glad of it'.

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Richard Morris @ahistoryinart.bsky.social · 3d

There is a long tradition in European art in portraying happiness; with Albert Marquet's depiction of the Dune de Pyla near Arcachon, on France's Atlantic coast (1935) he has created a picture the mind can play in.

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Richard Morris @ahistoryinart.bsky.social · 3d

Edward Stott was an English Romantic visionary who loved the land and its characters. In this work he explores one of the great themes of 19thC art and poetry: labourers returning home by moonlight, as the seasonal cycle draws to a close and the harvest is safely gathered in.

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Richard Morris @ahistoryinart.bsky.social · 3d

'Buckwheat Harvest.' (1899) Like almost every modernising artist Paul Serusier was influenced by Japanese prints in the late 19thC, not so much the characterisation of things, but the creation of atmosphere; the landscape and colour call to mind Gauguin's work of this period.

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Richard Morris @ahistoryinart.bsky.social · 3d

In 1916, Edvard Munch bought a property known as Ekely in the town of Skøyen, near present-day Oslo. The two-story villa served as his house and studio, becoming for Munch what Giverny was for Monet. This self-portrait was painted while he was visiting Bergen for an exhibition.

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Richard Morris @ahistoryinart.bsky.social · 4d

When Renoir's portrait of the politician Jacques-Eugène Spuller was exhibited in 1877, critics were puzzled: 'The drawing of the features in the portrait of our friend Spuller lacks solidity, however his expression is intense, the eyes think, the flesh is alive.'

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Richard Morris @ahistoryinart.bsky.social · 4d

Not in 1904. It was paint that was toxic not wallpaper though you probably know this anyway.

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Richard Morris @ahistoryinart.bsky.social · 4d

In the wake of the far-reaching loss of WW1, pictures which had an emphasis on continuity and nostalgia had enormous appeal in Britain during the inter-war years. The clarity of definition in James Walker Tucker's 'An Idle Chat,' (1936) is down to his use of egg tempera.

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Richard Morris @ahistoryinart.bsky.social · 4d

Jean Béraud's picture of a gentleman's club (1904) is painted in a few warm, deep colours. There is no central figure, and the men are positioned in such a way that their faces are either partly or entirely hidden. Privacy in a private club.

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Richard Morris @ahistoryinart.bsky.social · 4d

Eugène Jansson's painting from 1898 depicts the large expanse of water in central Stockholm known Riddarfjäden. Jansson was one of the most significant artists in the last years of the 19thC to create a style of painting that reflected the essence of Scandinavia.

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