Barry Cunningham

'Still-life with Bottles.' (1892) Roderic O'Conor often grafted the gestural brushwork and non-naturalistic colours he had discovered in Van Gogh’s late paintings into his own interpretations. It’s easy to think he followed techniques and then discover he was there first.

More than any other British artist, Paul Nash revived the English landscape tradition in modern terms. In 'The Rye Marshes, East Sussex,' (1932) he brings his understanding of Cézanne on his search for a satisfying compositional design.

'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.'

A view from Anthony Eyton's studio in Spitalfields, East London. He made a number of paintings of the view seen here; this picture was worked on for five years from 1976 during which time the view inevitably changed as houses were refurbished.

'The Curragh.' (1914) This painting by Irish artist Paul Henry is full of drama, accentuated by the use of a high horizon and tall waves as if to remind us of the danger facing the crew of this small boat. It brings home the harsh life of the islanders on Achill off County Mayo.

Roger Fry (whose work this is) and Walter Sickert maintained a long, frequently contentious friendship characterized by mutual respect for each other’s talents as a painter. Dieppe was a significant location though it featured differently in their careers. This is from 1925.