The scene for Soloman Soloman's 'The Breakfast Table,' (c1915) is the dining room at the family's home in Birchington, Kent; it depicts his wife Ella and daughter Iris, denoted by her hand holding the newspaper and her dangling leg and shoe.

Who loves Autumn walks? 🍁

'Beach at low tide.' Landscapes by Degas are comparatively rare, yet they remain among his most compelling works. He created his first important group of landscapes in 1869, the year this work was made during a trip to the Normandy coast around Cabourg and Villers-sur-Mer.

'A Quiet Day in the Studio,' was painted by Sir John Lavery in 1885 a period where he was matching himself against the Salon masters, as much as against Whistler and had begun to experiment with naturalism - often seen to be in competition with photography.

'Branch Hill Pond, Hampstead.' In the summer of 1821, John Constable began making direct studies in the open air of cloud formations. These were mostly made from the high ground at Hampstead village - an ideal observation point.

On a still morning, sitting by the froth of Burbage Brook as it tumbles through Padley Gorge, you can't help feeling that you've somehow fallen into a different world ... perhaps when you tripped over that tree root. Here, there's no haste or pressure, no noise but the constant

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.

'Man Reading.' (1904) John Singer Sargent's portraits balance looseness and definition, what might be called Old Master-casual; faces and hands rendered just tightly enough to stay alive. The sitter is Nicola d'Inverno, Sargent's Italian valet and a frequent model.

'Coast Scene at Brighton: Evening.' This view, painted in May 1828, depicts the setting sun over Shoreham-by-Sea, west of Brighton. The melancholy character of the picture may be linked to the declining health of John Constable's wife Maria, who died six months later.

What a joy to meet thé indefatigable David Hockney at his exciting new show at the Annely Juda gallery. He’s been working crazily producing new work. And ALL of it lifts your spirits. Thank you David!

Painted in 1913, 'Corner of the Church of San Stae, Venice,' John Singer Sargent has abandoned the 18thC panoramic tradition and painted a cropped version of the church, creating a more visually dynamic and arresting viewpoint.

'The Aldwych, London.' (1955) Charles McCall's London is often made up of views from a corner of a city street - his paintings have a strong sense of colour and painterliness just like his mentor Samuel Peploe.

When Whistler showed 'Nocturne in Black and Gold: The Falling Rocket,' in 1875, he outraged the chief moralist of art John Ruskin: 'I... never expected to hear a coxcomb ask 200 guineas for flinging a pot of paint in the public's face.' And so a lawsuit began.

Autumn is a season that wants us to slow down and take stock, don't you think? It's there in the soft mist that wraps itself about the trees, in the dampness that drip - drip - drips hypnotically from the branches. Even the air feels thicker than normal, harder to rush through,

'Playa de Valencia,' was painted at the end of the summer of 1910 by Sorolla on El Cabañal beach, Valencia - it centres on one of his familiar motifs, fishermen landing the day's catch.

'The Line of the Plough.' (1919) John Arnesby Brown's painting was the first picture he made in the spring following the end of WW1. It suggests the start of the cycle of life and new beginnings after the shattered landscapes he witnessed in France and Belgium during the war.

It is early in the morning, and there are few people about in this 1919 work by William Nicholson of the Cenotaph in London. It is the original white-painted wood and plaster structure designed by Edward Lutyens, it stands out in stark relief against the Foreign Office.

'Low Tide at Trouville.' (1894) It is fascinating to contemplate the beach paintings of Eugene Boudin and consider what might have happened had he not met the teenage Monet and suggested he try painting landscapes instead of the caricatures he'd done to that point.

In the mid-1870s Guiseppe De Nittis travelled to London where he painted a series of urban scenes, including the Houses of Parliament - these reflected the innovations he had learned from Edgar Degas who had invited him to participate in the first Impressionist exhibition.

A watercolour (1903) by Archibald Knox of Kella Mill at Sulby on the lsle of Man, the island where he spent most of his early life. 'The places I paint are within short walks from home; one day something never seen before, an appearance of light on colour.'