'As a child I wanted to snuggle up with the dogs and be part of it': Alexia Robinson chooses her favourite painting
Alexia Robinson, founder of Love British Food, chooses an Edwin Landseer classic.
My Favourite painting series, from Country Life
Alexia Robinson, founder of Love British Food, chooses an Edwin Landseer classic.
The painter Edward Burne-Jones turned from paint to glass for much of his career. James Hughes, director of the Victorian Society, chooses a glass masterpiece by Burne-Jones as his favourite 'painting'.
The actor Rob Houchen chooses a bold and challenging Egon Schiele work.
As the National Gallery turns 200, the chair of its board of trustees, John Booth, chooses his favourite painting.
Christopher Price of the Rare Breed Survival Trust on the bucolic beauty of The Magic Apple Tree by Samuel Palmer, which he nominates as his favourite painting.
'Lesson Number One: it’s the pictures that baffle and tantalise you that stay in the mind forever .'
The artistic director of Sadler's Wells chooses a painting created 'purely to aid reflection and contemplation'.
The great architect Norman Foster — aka Lord Foster of Thames Bank — chooses a Lowry given to him as a present by his wife.
The composer Sir Karl Jenkins chooses an Italian painting which came to him in to his life in fascinating circumstances.
The Childs Farm founder on a 'bruiser' bull.
Military historian Allan Mallinson picks an image of 'faith, generosity and ultimate sacrifice'.
The actor Ashley Campbell on a work that 'explodes with vivid, almost graffiti-like strokes'.
Keith Halstead of the Royal Countryside Fund chooses a scenic image by Edward Seago.
CLA President Victoria Vyvyan selects a religious engraving by Albrecht Dürer.
Melanie Vandenbrouck, chief curator at Pallant House Gallery in Chichester, chooses a Jadé Fadojutimi image.
The award-winning Nature writer and regular Country Life contributor John Lewis-Stempel chooses a bucolic scene with quite probably the longest title of any artwork ever to feature on this page.
Gavin Plumley, author and cultural historian, selects an unusual canvas with two painters credited.