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Christopher Richard Wynne Nevinson ARA (13 August 1889 – 7 October 1946) was an English figure and landscape painter, etcher and lithographer, who was one of the most famous war artists of World War I. He is often referred to by his initials C. R. W. Nevinson, and was also known as Richard.
Nevinson studied at the Slade School of Art under Henry Tonks and alongside Stanley Spencer and Mark Gertler. When he left the Slade, Nevinson befriended Marinetti, the leader of the Italian Futurists, and the radical writer and artist Wyndham Lewis, who founded the short-lived Rebel Art Centre. However, Nevinson fell out with Lewis and the other 'rebel' artists when he attached their names to the Futurist movement. Lewis immediately founded the Vorticists, an avant garde group of artists and writers from which Nevinson was excluded.
At the outbreak of World War I, Nevinson joined the Friends' Ambulance Unit and was deeply disturbed by his work tending wounded French and British soldiers. For a very brief period he served as a volunteer ambulance driver before ill health forced his return to Britain. Subsequently, Nevinson volunteered for home service with the Royal Army Medical Corps. He used these experiences as the subject matter for a series of powerful paintings which used the machine aesthetic of Futurism and the influence of Cubism to great effect. His fellow artist Walter Sickert wrote at the time that Nevinson's painting La Mitrailleuse, 'will probably remain the most authoritative and concentrated utterance on the war in the history of painting.' In 1917, Nevinson was appointed an official war artist, but he was no longer finding Modernist styles adequate for describing the horrors of modern war, and he increasingly painted in a more realistic manner.[1] Nevinson's later World War One paintings, based on short visits to the Western Front, lacked the same powerful effect as those earlier works which had helped to make him one of the most famous young artists working in England.
Shortly after the end of the war, Nevinson travelled to the United States of America, where he painted a number of powerful images of New York. However, his boasting and exaggerated claims of his war experiences, together with his depressive and temperamental personality, made him many enemies in both the USA and Britain. In 1920, the critic Charles Lewis Hind wrote of Nevinson that 'It is something, at the age of thirty one, to be among the most discussed, most successful, most promising, most admired and most hated British artists.'[2] His post-war career, however, was not so distinguished. Nevinson's 1937 memoir Paint and Prejudice, although lively and colourful, is in parts inaccurate, inconsistent, and misleading.[3]
Nevinson studied at the Slade School of Art under Henry Tonks and alongside Stanley Spencer and Mark Gertler. When he left the Slade, Nevinson befriended Marinetti, the leader of the Italian Futurists, and the radical writer and artist Wyndham Lewis, who founded the short-lived Rebel Art Centre. However, Nevinson fell out with Lewis and the other 'rebel' artists when he attached their names to the Futurist movement. Lewis immediately founded the Vorticists, an avant garde group of artists and writers from which Nevinson was excluded.
At the outbreak of World War I, Nevinson joined the Friends' Ambulance Unit and was deeply disturbed by his work tending wounded French and British soldiers. For a very brief period he served as a volunteer ambulance driver before ill health forced his return to Britain. Subsequently, Nevinson volunteered for home service with the Royal Army Medical Corps. He used these experiences as the subject matter for a series of powerful paintings which used the machine aesthetic of Futurism and the influence of Cubism to great effect. His fellow artist Walter Sickert wrote at the time that Nevinson's painting La Mitrailleuse, 'will probably remain the most authoritative and concentrated utterance on the war in the history of painting.' In 1917, Nevinson was appointed an official war artist, but he was no longer finding Modernist styles adequate for describing the horrors of modern war, and he increasingly painted in a more realistic manner.[1] Nevinson's later World War One paintings, based on short visits to the Western Front, lacked the same powerful effect as those earlier works which had helped to make him one of the most famous young artists working in England.
Shortly after the end of the war, Nevinson travelled to the United States of America, where he painted a number of powerful images of New York. However, his boasting and exaggerated claims of his war experiences, together with his depressive and temperamental personality, made him many enemies in both the USA and Britain. In 1920, the critic Charles Lewis Hind wrote of Nevinson that 'It is something, at the age of thirty one, to be among the most discussed, most successful, most promising, most admired and most hated British artists.'[2] His post-war career, however, was not so distinguished. Nevinson's 1937 memoir Paint and Prejudice, although lively and colourful, is in parts inaccurate, inconsistent, and misleading.[3]
Christopher R. W. Nevinson - Wikipedia
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A short piece taken from the BBC's "British Masters" series. You can see Nevinson's - "Any Wintry Afternoon in England" in this walk round the "Life Is Good ...
Thank you, my friend Maj Marty Hogan for making us aware that August 13 is the anniversary of the birth of English figure and landscape painter, etcher and lithographer Christopher Richard Wynne Nevinson ARA who was one of the most famous war artists of World War I.
Christopher Nevinson
A short piece taken from the BBC's "British Masters" series.
You can see Nevinson's - "Any Wintry Afternoon in England" in this walk round the "Life Is Good In Manchester" exhibition at the Manchester Art Gallery, September 2011:
https://www.youtube.com/watch?v=EHkI6xyhQx8
Images:
1. 1915 La Mitrailleuse.
2. 1915 Bursting Shell.
3. 1916 A Star Shell.
Background from firstworldwar.com/bio/nevinson_christopher.htm
"Christopher Richard Wynne Nevinson (1889-1946) was a noted British war painter, whose predilection for representing the mechanical nature of war set him apart from many of his wartime contemporaries.
Nevinson was the son of the noted journalist journalist Henry Nevinson, and shared similarly radical views. A leading avant garde figure Nevinson opted to join the Red Cross as a dedicated pacifist upon the outbreak of war in 1914.
He subsequently served with the Royal Army Medical Corps (R.A.M.C.) in London but was invalided out of the army in January 1916 suffering from rheumatic fever. This was not however the end of his war. An exhibition of his paintings later that year in September brought him to the attention of the chief war propagandist Charles Masterman of the War Propaganda Bureau (WPB).
Masterman successfully petitioned Nevinson to travel to the Western Front painting in an official capacity for the British government. In spite of his known radicalism Nevinson eagerly accepted, and it is to Masterman's credit that Nevinson's work largely escaped censorship, although much of it would have appeared uncomfortable in official quarters.
For Nevinson's work was stark in drawing the public's attention to the increasingly mechanised nature of modern warfare, far removed from the romantic artistry that often accompanied the early stages of the war, which generally depicted man fighting man (often in hand to hand combat). Machine Gun, exhibited in 1916, is typical of his work in this respect.
Nevinson made repeated visits to the front lines in drawing inspiration for his work. Those paintings that were regarded as unsuitable for publication during wartime were subsequently made available following the armistice. He was later to express dissatisfaction with his work for the War Propaganda Bureau even though it gave him a valuable outlet for his work: he fretted that he was being used for the opposite purpose he had in mind ("may it burn their lousy souls").
After the war Nevinson concentrated on townscape and genre painting. His autobiography, Paint and Prejudice, was published in 1937. He renewed his career as a war artist with the onset on the Second World War but a stroke cut short his war involvement in 1942. He died in 1946."
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Christopher Nevinson
A short piece taken from the BBC's "British Masters" series.
You can see Nevinson's - "Any Wintry Afternoon in England" in this walk round the "Life Is Good In Manchester" exhibition at the Manchester Art Gallery, September 2011:
https://www.youtube.com/watch?v=EHkI6xyhQx8
Images:
1. 1915 La Mitrailleuse.
2. 1915 Bursting Shell.
3. 1916 A Star Shell.
Background from firstworldwar.com/bio/nevinson_christopher.htm
"Christopher Richard Wynne Nevinson (1889-1946) was a noted British war painter, whose predilection for representing the mechanical nature of war set him apart from many of his wartime contemporaries.
Nevinson was the son of the noted journalist journalist Henry Nevinson, and shared similarly radical views. A leading avant garde figure Nevinson opted to join the Red Cross as a dedicated pacifist upon the outbreak of war in 1914.
He subsequently served with the Royal Army Medical Corps (R.A.M.C.) in London but was invalided out of the army in January 1916 suffering from rheumatic fever. This was not however the end of his war. An exhibition of his paintings later that year in September brought him to the attention of the chief war propagandist Charles Masterman of the War Propaganda Bureau (WPB).
Masterman successfully petitioned Nevinson to travel to the Western Front painting in an official capacity for the British government. In spite of his known radicalism Nevinson eagerly accepted, and it is to Masterman's credit that Nevinson's work largely escaped censorship, although much of it would have appeared uncomfortable in official quarters.
For Nevinson's work was stark in drawing the public's attention to the increasingly mechanised nature of modern warfare, far removed from the romantic artistry that often accompanied the early stages of the war, which generally depicted man fighting man (often in hand to hand combat). Machine Gun, exhibited in 1916, is typical of his work in this respect.
Nevinson made repeated visits to the front lines in drawing inspiration for his work. Those paintings that were regarded as unsuitable for publication during wartime were subsequently made available following the armistice. He was later to express dissatisfaction with his work for the War Propaganda Bureau even though it gave him a valuable outlet for his work: he fretted that he was being used for the opposite purpose he had in mind ("may it burn their lousy souls").
After the war Nevinson concentrated on townscape and genre painting. His autobiography, Paint and Prejudice, was published in 1937. He renewed his career as a war artist with the onset on the Second World War but a stroke cut short his war involvement in 1942. He died in 1946."
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