'The Stars Coming Out.' (1912) Sir George Clausen's painting was made near Widdington, near Saffron Walden in Essex, probably one chilly autumn evening. Out of very simple elements, he constructed one of the most perfect nocturnes, a picture that rivals those of Millet and Corot.

Anne Redpath often favoured a more muted palette than the vivid colours of her contemporaries. Greys became central to her work—she wrote of using it as a colour rather than a background, underscoring her belief that even the most neutral tones carry emotional and visual weight.

One of the talented generation of artists to emerge just before WW1, Adrian Allinson is known as a painter of strongly modelled, appealingly stylised landscapes, figure compositions and flowers. This is 'Autumn in the Cotswolds,' (c1941)

Charles Cundall's technical skill was especially good when working on large panoramic canvases. His pictures are rich with texture, light and movement. 'New York from Brooklyn,' was painted in 1939.

Brake Baldwin's portrait of Nora Head was painted during a zeppelin raid during WW1, in London in 1915. His bold style and subtle variations of light within a dark palette align Baldwin with the best of his contemporaries. He exhibited alongside Orpen, Lavery, and Sargent.

#AnnaAiry Award #Exhibition for 2026. Held at #UniversityofSuffolk at their #Waterfront building. 28th November - 6th December. #Art #IpswichArtSociety

Jan Sluijters painted 'The Beggar,' around 1910 when movement and anecdote still formed the main constituent of his paintings. After this period, we can see the action in his work disappear for a few years.

'Thunder Cloud,' (1912) is a gem of a painting by Tom Thomson; its virtues lie in the work's remarkable structure than in vivid colours. On the face of it, it's a fairly ordinary picture, but what lifts it is the powerful composition and the handling of the paint.

Christopher Nevinson painted this dynamic image of Fleet Street when it was the centre of the British news industry in the 1920s. Viewed from an upper-storey window at the corner of Shoe Lane, it looks east towards Ludgate Hill and St Paul's Cathedral.

The setting of 'The Storm,' (1893) is Åsgårdstrand, where Edvard Munch often spent his summers. The main figure and the group behind her cover their ears to keep out the howling winds. This picture was made the same year Munch painted The Scream.

A Row of Trees,' (1915) depicts a road near Oranjewoud, a small village in Friesland in the Netherlands near to where Jan Mankes lived for most of his life. Although his favourite subjects were birds, small animals and from 1911, the beauty of the spacious Fries landscape.

'Reflection on the Water.' (1908) The subtle use of plain colours and strong contrasts of light and shadow gives Hans Emmeneger’s compositions a great sense of tension. This work was painted when he was becoming interested in chronophotography.

Ferdinand Hodler originally designed the Woodcutter painting for the Swiss 50 franc note in 1908, today it is one of the most famous of his images, serving as it does as a symbol of strength, earthiness and resilience.

Dick Ket is best known as an artist of meticulously painted still lifes and portraits. These appeared after 1930 after he had suffered a heart attack which meant he moved around very little and painted from his studio.

Christopher Wood was fond of flowers as a subject, and this painting from 1925 (influenced by van Gogh) shows a degree of maturity by which his pictures from this period were characterised. This work also reveals his understanding of colour and harmony.

Around 1910, Jan Mankes' paintings took on a softness in tone. His elaborate working method of layering paint contributed to this effect; thinly applied pigment was rubbed in the canvas, then taken off with pumice, a paint layer was added, which would partially be removed again.

'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.

'Imperial War Museum.' (1967) Euan Uglow's contribution to British art was as radical and experimental as any celebrated post-war artist. The ideas he pursued had nothing to do with language but what he said was: 'controlled, potent emotion.'

'On the Banks of the Aumance River.' (1874) Although he was interested in depicting the real world, Henri Harpignies never became a realist in the style of the Barbizon group of painters. His landscapes were more inspired by the work of Corot, Claude, and Nicolas Poussin.

'Capri Girl on a Rooftop,' (1878) superbly demonstrates John Singer Sargent's fresh and original approach to painting. The scene from Capri, is infused with warm colours, which lend a distinct evening light highlighting the shadows of the architecture falling on the roof.

'Shovelling for Pips,' (1917) in Howard Veal's painting refers to the Coorong or Goolwa cockle, a small clam-like shellfish. Veal studied under Max Meldrum, whose interest in tonal painting was a lasting influence, even though he did flirt for a time with abstraction.

'The Repast.' (c1900) Laura Knight moved to Staithes in North Yorkshire in 1897. She wrote: 'the life and the place were what I yearned for, the freedom, the austerity, the savagery and the wildness. I loved the strange race of people who lived there...'

'The Long Room, Audlem.' (1910) James Hamilton Hay, applied his sophisticated tonal approach to a range of subjects that included interiors, landscapes, seascapes, townscapes and portraits. This picture absorbs the influences of James McNeill Whistler and Japanese printmakers.

In 'City Roofs,' (1932) Edward Hopper's earnest and slightly romantic representation of a seemingly mundane subject matter set him apart from his contemporaries and allowed him to create a new and uniquely American iconography.

'Parish Bazaar.' (c1948) Norman Blamey was such a master draughtsman, his work often features this crystalline geometry and mathematical precision. This work is for sale. Drop me a line if you're interested: richard@richardmorris.org

For this striking painting of 'Dosmare Pool,' in Cornwall (c1910) Harold Knight should be measured against his illustrious international peers. The girl in the foreground is possibly Florence Carter-Wood, who was briefly (and tragically) married to Alfred Munnings.

The Concert.' (1954) In mid-1950s there was a shift in the way David Park painted, he began to embrace a more representational approach to painting and specifically painting the figure: 'not so much their actual appearance from a reportorial standpoint – but their aura.'

Richard Eurich developed his ability to paint the sea (this is Penzance, Cornwall in 1937) in all its moods and in all weathers. He concentrated on what he saw as 'the problems,' by which he meant the structure of water and a background featuring harbours and landscapes.

'Tea with Mr Sickert,' (c1911) depicts a room at 42 Lowndes Street in Kensington set for afternoon tea for three; Walter Sickert sits with cigar or cigarette in hand. The tea's host, Ethel Sands (whose picture this is) was a genius in English cultural society between the wars.

Christopher Nevinson said of this work depicting Manhattan (1920) 'The painting directs us into the unknown, and there are no brakes... this painting forces us to confront it and not look away: welcome to your future at a thousand miles an hour, make of it what you will.'