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(1892-1982)<br> Allan Gwynne-Jones’ paintings, which graduate from soft naturalism to staged naivete, possess innocent charm. His vision is observant yet unobtrusive. Even his simplest still life appears fresh. Gwynne-Jones’ oeuvre encompasses still life, portraiture and landscape – sometimes of a surreal aspect. His work is represented by London dealers such as The Maas Gallery, and hangs in the National Gallery and the Tate. Numbered amongst those at the Tate is a self-portrait, which is both candid and sober, and the memorable Peaches in a Basket (1948).<br> <br> Nocturnal scenes fascin (1892-1982)<br> Allan Gwynne-Jones’ paintings, which graduate from soft naturalism to staged naivete, possess innocent charm. His vision is observant yet unobtrusive. Even his simplest still life appears fresh. Gwynne-Jones’ oeuvre encompasses still life, portraiture and landscape – sometimes of a surreal aspect. His work is represented by London dealers such as The Maas Gallery, and hangs in the National Gallery and the Tate. Numbered amongst those at the Tate is a self-portrait, which is both candid and sober, and the memorable Peaches in a Basket (1948).<br> <br> Nocturnal scenes fascinated Gwynne-Jones, and he did a series depicting a fairground. His pictures share a decorative appeal, evoking the gentler face and unassuming values of rural England in the first half of the twentieth century.<br> ...
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