Derain, André (1880-1954) Madame Derain au châle blanc (Madame Derain in a White Shawl) c.1919–1920 Oil on canvas, 195.5 x 97.5 cm Tate Britain, London In this portrait of his wife Alice, Derain has adopted some of the compositional and stylistic…
Derain, André (1880-1954) Paysage près de Barbizon (Landscape near Barbizon) c.1922 Oil on canvas, 70.8 x 72.7 cm Tate Britain, London In 1919 when Derain was demobbed after serving in the First World War, he returned to his painting career. He…
Derain, André (1880-1954) Nature morte (Still Life) c.1938–1943 Oil on canvas, 88.5 x 145.8 cm Tate Britain, London In his work of this period Derain explored the traditions of past art. The unusual size and monumental quality of this painting can…
Derain, André (1880-1954) La piscine de Londres (The Pool of London) 1906 Oil on canvas, 65.7 × 99.1 cm Tate Britain, London This view of the Thames from London Bridge is one of four works painted by Derain, showing the same…
Derain, André (1880-1954) Le peintre et sa famille (The Painter and his Family) c.1939 Oil on canvas, 176.5 x 123.8 cm Tate Britain, London This symbolic painting represents the life of an artist. It is an invented scene. Despite usually working…
Derain, André (1880-1954) Henri Matisse 1905 Oil on canvas, 46 x 34.9 cm Tate Britain, London A portrait of the painter Henri Matisse (1869-1954), executed at Collioure in the summer of 1905 at the same period as the portrait of Derain…
Matisse, Henri (1869-1954) André Derain 1905 Oil on canvas, 39.4 x 28.9 cm Tate Britain, London A portrait of the painter André Derain (1880-1954), executed at Collioure in the summer of 1905 at the same time as the portrait of Matisse…
Waterhouse, John William (1849-1917) The Lady of Shalott 1888 Oil on canvas, 153 x 200 cm Tate Britain, London English poet Alfred Tennyson’s poem ‘The Lady of Shalott’ (1833) describes a heroine confined to a tower and cursed to die…
Tissot, James (1836-1902) Summer (‘Portrait’) 1876 Oil on canvas, 91.4 x 50.8 cm Tate Britain, London James Tissot is deliberately ambiguous here, inviting us to interpret it. His model, Miss Lloyd, stands at the entrance of a billiards’ room, a space…