Richard Morris

'The Morning Ride, Copenhagen.'
Bicycles were the perfect vehicle for a new generation of painters looking for subjects that would express their experience of the modern age. This work (1907) by Erik Ludvig Hennimoder depicts the new leisured classes.

During his time at the Royal Academy in Copenhagen, Julius Paulsen studied a range of classically-inspired techniques from the Renaissance and Baroque through to contemporary French salon painting. This work, prosaically titled 'Summer Night,' is from around 1888.

Italy, and Venice in particular, proved a constant source of inspiration to Frederic, Lord Leighton throughout his early career. This sketch (1864) of St Mark's Basilica, explores how the fall of light and shade affects the luminosity of its surfaces.

This 'View from Albert Bridge Road,' is by Terry Frost from the window of his lodgings in Battersea in 1948. Then studying at Camberwell he had met Victor Pasmore who would have a huge influence on his work. A year after this picture, he produced his first abstract painting.

This oil sketch by John William Waterhouse dates from the late 1890s and is most likely a study for Narcissus; 'Echo and Narcissus,' was Waterhouse's major work in the 1903 Royal Academy Exhibition.

Alfred Munnings was associated with the Newlyn School of artists in Cornwall between 1912 and 1914; this painting captures a spring night in the historic fishing village.

A nonsensical label on a painting by John Constable. Ludicrous.

This sensitive study in chalks by John Constable shows a recumbent male nude. This date is around 1808 when he was making studies from life models at the Royal Academy.

Painted in 1919, Santiago Rusiñol's picture depicts the estate of Sa Coma in Valdemosa on Mallorca’s east coast. Rusiñol developed a strand of modernism in Spain which translated into paintings of landscapes, pictures which varied from symbolist to more naturalistic works.

Jacques-Emile Blanche has depicted himself reflected in a mirror on the far right side of this picture (1910) as if admiring the furnishings at his home Manoir du Tot in Offranville in Normandy.

'Three Peaches.' The majority of Gustave Courbet’s still-lifes were made between 1871 and 1872, during and shortly after his imprisonment in Sainte-Pélagie for his part in the Commune uprising. He turned to still life painting in prison as few other subjects were available to him

'Girl in the Wind.' (1898) Akseli
Gallen-Kallela painted this work from a rocky promontory overlooking Lake Keitele in central Finland. It was a place that held a special significance for him and to which he had only just returned after several years of absence.

Described as 'almost frighteningly realistic,' and 'unfeminine,' by critics, this painting (1883) by Helene Schjerfbeck of her friend the artist Helena Westermarck depicts her absorbed in her work at the Academy of Fine Arts.

Carl Moll’s landscapes during WW1 can be read as expressing a deep-rooted yearning for harmony and positivity at a time that was marked by political and social conflict and turmoil, an antidote to the violence that was sweeping Europe at the time.

'Evening, Killarney.' (1941) Speaking to an art critic in the 1930s, Paul Henry said: 'What always strikes me about the Irish landscape is its otherworldliness. There's an air of mystery about it ... you feel that anything may happen round the corner.'

'My First Studio.' (1928) Luigi Lucioni's painting style spared him from the contentiousness of Modernist circles; while he respected the artistic trends of the period he looked beyond what was in-vogue in favour of technical skill.

This work from 1832 depicts the courtyard of Corot's home in Ville d’Avray, the town and surrounding countryside were the inspiration for numerous works, including the first painting he made on returning from Italy in 1828.

The lithographer and painter, Charles Shannon is best remembered for his artistic partnership with Charles de Sousy Ricketts. This work by Shannon from around 1900, shows CSR at their flat in Kennington Road, Lambeth, London.

Before Jean-François Millet achieved success as a painter of peasant life, he earned his early living as a portraitist. Here, he depicts the wife of a lifelong friend in a style reminiscent of 17thC Dutch painters. Millet captures the sitter's self-containment, reserve, and poise

A Boy.' (1915) Edwin was the fourth child of Augustus John and his wife Ida. At the height of his career, he was described as 'the greatest living draughtsman; he suggests in a few lines the romantic world in which the people of his imagination live.'

'Interior, Mrs Mounter.' (1917) With its reflective mood, Harold Gilman’s painting suggests a comparison by Scandinavian artists of the time including Hammershøi; Gilman's influence came from visiting an exhibition of Danish painting at the Guildhall Art Gallery in early 1907.

Ben Nicholson painted 'Blue Bowl in Shadow,' in 1919. He would travel a considerable distance in his stylistic journey before he achieved the purity of his reliefs of the 1930s. He had half resolved to be a writer, but his aptitude was enough to make up his mind to be a painter.

'Still life with Daffodils.' (1890) Although an established portrait painter by the time he made this work, John Singer Sargent had a growing preoccupation with still-lifes; the forms of the flowers emphasizes the sense of joy he derived from painting them. #StDavidsDay2026

Me too, lots of fond memories

Walter Sickert's painting depicts the Palazzo Montecuccoli near the mouth of the Grand Canal in Venice. The picture was started in 1901 and finally completed three years later during one of his last visits to the city.

In Joseph Southall's painting in watercolour of the Fowey estuary in Cornwall (1924) is cropped like a photograph, the expanse of water is painted with the precision he gave over to his pictures made in tempera.

Thank you, Geoff

'Night in Venice.' In 1904 Emile Claus became the leader of a new art movement in Belgium called Luminism which experimented with a new, luminous way of painting. Two years later he visited Venice; the paintings he made here persuaded Monet to visit the city in 1908.

Edward Clifford's portrait from the mid-1870s shows the Arabic scholar Ion Falconer in his University of Cambridge vest showing him as The Champion Cyclist of Great Britain: ‘unbeatable over short and fifty mile distances racing against amateur and professionals.'

'Sleeping Beauty.' Evelyn Dunbar rarely exhibited her paintings and did not view them as an essential source of income; her work had, until recently all but disappeared from accounts of 20thC British art. This oil sketch shows her father taking a post lunch nap sometime in 1928.