Doreen Fletcher(@DFletcherArtist) 's Twitter Profileg
Doreen Fletcher

@DFletcherArtist

Painter interested in pockets of life that we ignore every day; places that are still or have been inhabited. Shortlisted for the ES Contemporary Art Prize 2017

ID:918159607461236737

linkhttp://www.doreenfletcherartist.com calendar_today11-10-2017 17:01:23

11,4K Tweets

5,8K Followers

217 Following

Emma-Louise Williams(@Underthecranes) 's Twitter Profile Photo

My filmpoem is a response to how the progressive movement for social housing in the post-war period was let go under Thatcher, so it's great to see the term 'social housing' being reclaimed by Shelter 'Under the Cranes' is screening on 9 June Hackney Picturehouse 👇picturehouses.com/movie-details/…

My filmpoem is a response to how the progressive movement for social housing in the post-war period was let go under Thatcher, so it's great to see the term 'social housing' being reclaimed by @Shelter 'Under the Cranes' is screening on 9 June @HackneyPH 👇picturehouses.com/movie-details/…
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John Constable(@JohnConstableRA) 's Twitter Profile Photo

Good Day!
Wooded Landscape with a Peasant Resting by Thomas Gainsborough c.1747
Oil on Canvas
(Tate)
'Tis a most delightful country for a landscape painter. I fancy I see Gainsborough in every hedge and hollow tree.' John Constable

Good Day! Wooded Landscape with a Peasant Resting by Thomas Gainsborough c.1747 Oil on Canvas (Tate) 'Tis a most delightful country for a landscape painter. I fancy I see Gainsborough in every hedge and hollow tree.' John Constable
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Richard Morris(@ahistoryinart) 's Twitter Profile Photo

'Reflection of the Thames.' (1917) Emile Claus spent the years of WW1 in London in exile. He rented a studio on Norfolk Street overlooking London Bridge, where he would paint his atmospheric views of the Thames, often with its inpenetrable mist and rain.

'Reflection of the Thames.' (1917) Emile Claus spent the years of WW1 in London in exile. He rented a studio on Norfolk Street overlooking London Bridge, where he would paint his atmospheric views of the Thames, often with its inpenetrable mist and rain.
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Richard Morris(@ahistoryinart) 's Twitter Profile Photo

'Houses of Parliament at Night.' In 1906, Andre Derain's dealer, Ambroise Vollard, sent him to London with the audacious plan of producing a series of views to rival the ones Monet had painted from his room at the Savoy and St Thomas' Hospital - the plan was hatched after seeing

'Houses of Parliament at Night.' In 1906, Andre Derain's dealer, Ambroise Vollard, sent him to London with the audacious plan of producing a series of views to rival the ones Monet had painted from his room at the Savoy and St Thomas' Hospital - the plan was hatched after seeing
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Richard Morris(@ahistoryinart) 's Twitter Profile Photo

'The Ship Inn, Mousehole.' (1930) Most of Christopher Wood's best pictures,from 1929 and 1930, contained seaside and harbour themes; boats, fishermen, bathers: in the main executed in Cornwall. In this work, he's left the face of a man leaning against the inn's wall, blank.

'The Ship Inn, Mousehole.' (1930) Most of Christopher Wood's best pictures,from 1929 and 1930, contained seaside and harbour themes; boats, fishermen, bathers: in the main executed in Cornwall. In this work, he's left the face of a man leaning against the inn's wall, blank.
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Grim Art(@GrimArtGroup) 's Twitter Profile Photo

“The more people I meet, the more I love my dog.” Mark Twain 🐕 ❤️

Man Walking Dog by Norman Cornish (1919-2014)

“The more people I meet, the more I love my dog.” Mark Twain 🐕 ❤️ Man Walking Dog by Norman Cornish (1919-2014)
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Postcards of London(@PostcardsLondon) 's Twitter Profile Photo

'Here I am for the second time in England, tolerating the English with all their weird habits and their stupid language.'
[Translated from original Italian]
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Postmark: 27 July 1983

'Here I am for the second time in England, tolerating the English with all their weird habits and their stupid language.' [Translated from original Italian] ----- Postmark: 27 July 1983
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Richard Morris(@ahistoryinart) 's Twitter Profile Photo

'Waiting.' (1923) A seminal figure in printmaking of the 1920s and 1930s, Martin Lewis is regarded as one of the finest practitioners of the 20thC and was mentor to a young Edward Hopper.

In Lewis's works, the figures in his world initiate the emotion, though they’re no more

'Waiting.' (1923) A seminal figure in printmaking of the 1920s and 1930s, Martin Lewis is regarded as one of the finest practitioners of the 20thC and was mentor to a young Edward Hopper. In Lewis's works, the figures in his world initiate the emotion, though they’re no more
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