Ian McKeever, artist, (born and grew up in Withernsea)

Just occasionally one sees a painting which for what ever reason sticks in the mind, becomes a part of one’s living consciousness, so to speak. Such a work for me is Stanley Spencer’s modest painting of a bunch of onions hanging on a greenhouse wall, Greenhouse and Garden, which I first saw as a boy at the Ferens in the 1950’s. Of all the things one could paint, the grand themes of life, why paint a bunch of humble onions? This question mystified me.

Justine Hunt, Hull

As a young child in the 1950 s my mother brought me to the Ferens to see this picture. I was frightened by the size of the lions and the way they were looking at me! In those days we didn’t have a TV and I had not seen film of real lions- so it made a huge impact on me!

Now, as a volunteer at Ferens, I like to talk to visitors about the picture. It is a popular painting for young people still. I have such an emotional connection to it - I was amazed to see it there when I started volunteering. Funny how we remember things which evoke strong feelings!

Olwen Evans-Knibb, Hull

I didn't look at this painting properly for a long while, and I assumed it was plaster in relief. It gradually crept more clearly into my range of vision and I realised that it is an incredibly skillful and extremely beautiful painting. I have rarely seen such a perfect optical illusion, and I find it almost uncanny. It lurks there high on the wall, quite unassuming, but once you look at it and actually see it, it's completely mind-blowing. How does a person develop such talent and vision? It always leaves me with a strong sense of peace and beauty.

Ann Jepson, Tickton

It is our golden wedding in July this year and we had loads of special celebrations planned, holidays with family, parties with various groups and a return to our honeymoon village in Austria.
None of that is now happening but we are just glad that we are all safe and well and happy and……. the weather is being so kind to us – imagine this in the winter.
So we feel like the couple in the painting, still content.

Julie Corbett, Hull

I chose this painting because it was and still is the only painting I have tried to copy. A few years ago, possibly 8 or 9 I took part in some free art classes. The artist leading was called Bridget and we were introduced to several things, such as perspective and blending and all the classes took place in Ferens or the Maritime museum. It felt quite transgressive to take water and paint into the shinny, clean Ferens. This painting reminded me so much of holidays and days out at Mappleton and St Bees where I was shown how to use and then showed my children how to use nets to catch shrimp and juvenile flatfish. Trying to copy it made me look at it in a different way.

Cynthia Ward, South Holderness

Initially, it's appeal to me is in the sense of utter silence, conveyed by the sitter's still pose and far away gaze and also by the cool, almost monochromatic colour scheme.
But then I'm drawn to the obvious symbolism of the items on the table.
A game of Patience? A card reading?
Apples, wild oats, buds.
I love the mystery.
Chosen because it is an unusual pose, exquisitely painted but also because there's a mystery to solve. I'm interested in Symbolism.

Andrew Carrick, Hull

The first thing that caught my attention is the quality of the painting of the sea, the colours, wave shapes, everything about it is of the highest quality. Stand and stare at it and you feel you are at sea, and the floor beneath you starts to move. Add to that the theme, of survival, endurance; you've taken a battering but you've come through. This chimes in with the current times, I think.

Anne Benson, Hedon

The reason I am choosing this painting is because I love art of the Netherlands during this period.

I felt really inspired by paintings in the Mauritshuis, The Hague and reading Tulip Fever by Deborah Moggach. The women always covered their hair with a starch cap and a highly starched collar. The maid servants found the laundry to be really hard work, washing by hand and having to bleach the whites in the Sun, dry them and use a flat iron. A long and laborious process.

Dave Rowe, Cottingham
This painting always stops me I my tracks when I’m walking past it usually in its normal place in Gallery two. I love how he has caught the innocence of a young girl and her eyes are amazing.

Molly, Bradford

The simplicity and muted tones of this painting caught my interest - I'd never seen it before. Through the lens of art it compels the viewer to consider the practical application of science - and offers beauty in a boiler! This exercise showed me Gray's work for the first time - perhaps not the intended result, but a useful one for me.

Una, Lismore

I love the sense of reverie and contemplative essence of the scene, a girl suddenly lost in her own thoughts, book forgotten. The ability of the artist to confidently paint a background in large blocks of contrasting colour, while the subject matter is beautifully executed in a delicate detailed sensitive manner. The balance between light and dark, the use of space, the pared-back palette, the detail of the dress, there are many reasons to love this painting.

Ailsa Oliver, Skirlaugh

A painting at which I always stop and gaze. There is something about her face, the way she stands, the despair and grief that is so apparent. I can't help but wonder at the skill with which raw emotion is depicted in such an understated way. I also admire the way the artist has painted the drape of her robe so beautifully - I can almost sense how it would feel to the touch.

Sandra Cooper, Hull

I chose this painting because it has been my favourite since I was 12 years old - a total of over 50 years. I went to secondary school near the city centre and whenever time allowed, lunchtimes or after school, my friends and I would visit the Ferens Art Gallery to take a look around - we were all keen art students. I was always drawn to this painting. It has the ability to shock, but it’s difficult to look away. The translucent skin is fascinating. Each time you look at it you are drawn into the story, it’s wonderful.

Robbie, Saltaire

In a bar caught my eye as I scrolled through the collection.
I thought she could be me or I could be talking to her, comfortable looking old fashioned bar.

Jenny Harrison, Hull

My favourite picture has always been The Return from Inkerman by Elizabeth Thompson. The depth of field and the weary soldiers helping each other home are excellently portrayed. I can find something new every time I see it.

Fionn (12), Lismore

I chose this painting because I really liked the almost 3D art style. The colours were really vibrant so it stood out from the rest. I also liked the detail put into each individual miniature painting and how each of them had a slightly different art style.

Paul Soulsby, Hull

The subject matter is taken from the New Testament and depicts Christ’s transfiguration on Mount Tabor. The New Testament prophecy foretells Christ’s return to earth in the Second Coming.

Although classed as one of the last exponents of a then old fashioned highly stylised ‘Roman Mannerism’ approach within the epoch of change in Renaissance painting this is countered by the respect his former students, Caravaggio and Andrea Sacchi expressed for their former teacher.

Moritz, Lismore

Composition, proportions, layout, horizontal division of landscape and sky. Interrupted with vertical vegetation giving the feeling of new or change.
Pleasing low use of colour, encouraging imagination.
Capturing the cold wet yet hopeful and new year.
This painting leaves an impression and is inspiring.

Sue Pizzey, Hull

Painted in 1923 and shows the dancer Margaret Morris who was also the painter’s wife. This was painted at Cape d'Antibes and shows the strong French sunlight, so different from the sunlight in Britain. This is colourful, shows Margaret in a solitary but thoughtful pose.

I do so hope this painting will be chosen because it is do bright and lifts the mood of the viewer.

Helen E, Hull

I really like the detail within this artwork but like the fact that the face painted really stands out too.

Jack (15), Lismore

My favourite of the paintings at Ferens art gallery is 'Vincent Galloway' by George Kenneth Beaulah for its pleasing stylised look and soft brushstrokes as well as the use of a brilliant red and yellow to contrast the blue background.

Don Knibb, Hull

I really like the vibrancy and clarity of the colours in her dress, and the artistry and detail in the painting, particularly her ruff. Her expression suggests she's not someone to cross swords with!

The painting also points up huge contrasts between her society and ours, and always makes me wonder what sort of life she led. How many servants did it take to keep her looking like that? And on a more mundane level, how long did it take her to get dressed and undressed? She presumably considered it time well spent!