tag:blogger.com,1999:blog-70752265371924068842024-02-19T04:42:04.215+00:00David Boyd HaycockA Modern British Art & Culture BlogDavid Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-7075226537192406884.post-56720862062339272872022-08-31T16:30:00.003+01:002022-08-31T16:30:52.596+01:00<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: justify;"><br /></blockquote><h2 style="text-align: justify;">Rachel Gracey, 'River Notes,' at the Zuleika Gallery, Woodstock, Oxfordshire, from 3 September 2022.</h2><p style="text-align: justify;"><span style="text-align: left;">Rachel Gracey takes the title for her latest exhibition from what she calls ‘a quite extraordinary, quirky book’ that was first published in 1979, and which she happened upon quite by chance. River Notes: The Dance of Herons, by the American author Barry Lopez, lyrically charts the inner life of a nameless narrator, and his thoughts and feelings in an unnamed landscape – looking, watching, dreaming – alert to all the sensations of Nature.
Gracey was particularly captured by one of the final lines, when, with winter approaching, a dried-out watercourse returns after a long summer drought. ‘The river has come back to fit between its banks,’ Lopez’s narrator observes. ‘To stick your hands into the river is to feel the cords that bind the earth together in one piece.’ </span></p><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhptBJFO3PnCC4euTmSWe0tj_2xK3fw4o6jImPiPIRLY-_WrgjuLXQhvWyDwLf9BPW_kWITqwvQZN6kseURw0J8SB0UVcCpEEQBohs8IEAVYvD1DmhgSYuDhyCQ1i2owrvnoG4kG9GGPj5JVz3g0iLPzIq90Ysp0pQl3SM8BAVkEtlKgnOSkvtyUw5M/s4201/Cherwell%20-%20From%20Wolfson%20Bridge.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3781" data-original-width="4201" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhptBJFO3PnCC4euTmSWe0tj_2xK3fw4o6jImPiPIRLY-_WrgjuLXQhvWyDwLf9BPW_kWITqwvQZN6kseURw0J8SB0UVcCpEEQBohs8IEAVYvD1DmhgSYuDhyCQ1i2owrvnoG4kG9GGPj5JVz3g0iLPzIq90Ysp0pQl3SM8BAVkEtlKgnOSkvtyUw5M/w429-h387/Cherwell%20-%20From%20Wolfson%20Bridge.jpeg" width="429" /></a></div><br /><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Lopez’s word ‘cords’ echoes with its musical homophone, ‘chords,’ and the ‘notes’ of his title are not simply the record of his words, but also his appreciation of nature’s sounds. The book’s whole approach to being with and in the natural world resonated with Gracey, who also has a deep appreciation of music. ‘This is what I am really doing,’ she realized as she read. ‘I’m observing what’s going on ... I’m involved in watching landscape, watching nature.’ </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">The first set in her quartet of prints was inspired by the River Thames at Port Meadow. This large, open area of flood plain on the western edge of Oxford has for centuries been an area of common land, open to everyone. During the isolation of lockdown in 2020 it also became a popular location for escape from confinement. Gracey saw how important water suddenly was for so many people – as a place of sanctuary, release, freedom. Reflecting the changing moods of that difficult year, these smaller images (necessitated by her inability at the time to source the larger zinc plates she usually works from) are often liberating and celebratory. A few are also sad, sullen, dark. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">The second set, inspired by the River Helford in Cornwall, reflects a very different sort of river, one that is dramatic and powerful. They sing with a different, wilder sort of rhythm. The Cherwell, the river closest to her home in North Oxford, and its neighbouring ponds, inspired the gentler third set. The Cherwell has many busy stretches – especially in summer, when it is the haunt of walkers, anglers, bathers, canoeists and punters. But it can quickly quieten. When it does, one can sometimes spot a kingfisher, an egret, cormorants, a heron, or wagtails. These ornithological elements are in the images she creates, the colours and the shapes bringing out perhaps the fluttering of birds, or their song. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihy4RMNye__gSKN4yZxJVkZyH2Id31y6UesWarQTbLClLE6OMvSW9k8FwHVbUSQkuFmzdrmx_O3YgFnmdN0WPsDzB06IEMuRnTj6tsEvHmHHkzvw4uH6PZimqj2Nj1gr7idrLw4jx224RXecWyUNdjgwz4V6Te-wDAr5fBZr3oim5J09xXTcatDt9U/s4958/Cherwell%20-%20Up%20at%20Sunnymead.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3777" data-original-width="4958" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihy4RMNye__gSKN4yZxJVkZyH2Id31y6UesWarQTbLClLE6OMvSW9k8FwHVbUSQkuFmzdrmx_O3YgFnmdN0WPsDzB06IEMuRnTj6tsEvHmHHkzvw4uH6PZimqj2Nj1gr7idrLw4jx224RXecWyUNdjgwz4V6Te-wDAr5fBZr3oim5J09xXTcatDt9U/w412-h314/Cherwell%20-%20Up%20at%20Sunnymead.jpeg" width="412" /></a></div><br /><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Poised on the riverbank, carefully observing, Gracey makes records on paper in ink and pencil and watercolour, producing endless drawings for each set of prints in her series. Having collected her information, her sketches are taken back to the studio, where they eventually became the inspiration for her finished works. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">What is most striking in them is Gracey’s powerful and assured use of colour. ‘Nature does have such vibrancy,’ she explains. ‘Sometimes you wouldn’t believe it – sometimes it’s only there in the leaf, but I think, “Let’s actually make it the whole thing!”’ She is very keen to push the boundaries of printmaking, and sculpture has been a particular influence. One of her favourite artists is the American sculptor Alexander Calder (1898–1976). Best known for the metal mobiles he started making in the early 1930s, Calder brought colour and movement to what until then had been a very static, frequently monochrome medium. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Gracey perceives how movement is happening all the time, even in the stillest English landscape. With her most recent prints she has aimed to capture something of this shifting three-dimensionality. Her aim in every work is to capture something of the motion and the depth in a single moment – to capture what she calls ‘one essence of a place.’ Made during the spring, summer and autumn 2021, the Cherwell series have an extraordinary vibrancy and joy to them. ‘With these,’ she says, ‘I think the river has been so full of surprises ... They are much stronger than I thought they were going to be.’ </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggi22Zmaz2sA9FeOLp7aD4zp7_CdHJy4vJi8ACeYbZwVfwWnSe2hi0Cm42ft_63hR7SK8bujWHh9_H0qkhgcEGa7TSadKaSgdOuFz5xE2C6b7A6MAXllQbaDNb-w_ShMt2qAKSGiUNYJBcRN59kDnaSr8u0CJ9Mx1S2tlf1Y6yrHRsLRBPLoO2Z8Y5/s3390/Thames%202.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3390" data-original-width="3211" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggi22Zmaz2sA9FeOLp7aD4zp7_CdHJy4vJi8ACeYbZwVfwWnSe2hi0Cm42ft_63hR7SK8bujWHh9_H0qkhgcEGa7TSadKaSgdOuFz5xE2C6b7A6MAXllQbaDNb-w_ShMt2qAKSGiUNYJBcRN59kDnaSr8u0CJ9Mx1S2tlf1Y6yrHRsLRBPLoO2Z8Y5/w413-h436/Thames%202.jpeg" width="413" /></a></div><br /><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">The final set, based upon a brief visit to the River Stour in Dorset earlier this year, is the most deeply personal. Gracey has bound some into a little book she titles ‘Rubato Flow.’ A musical term, rubato refers to a composer’s permission to free the performer, allowing them to express their own interpretation, making its rhythm their own. Using just black and white on coloured paper, they are a meditation on the recent death of her father, conveying how, even in the latter stages of his life, he expressed a joy and freedom in living – a desire always to seize life. Though sad and poignant, this final set is, nonetheless, meditative and beautiful. </span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Fittingly, here Gracey quotes melodic lines from Maya Angelou’s poem, On the Pulse of Morning: ‘A river sings a beautiful song. It says / Come, rest here by my side.’
</div>David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0tag:blogger.com,1999:blog-7075226537192406884.post-50558713861933621192022-08-21T12:58:00.006+01:002022-08-21T12:58:49.049+01:00<span style="font-family: arial; font-size: large;"><b>Cutting it Fine: The Art of the British Wood Engraver</b> </span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">This is the text for a short guide I wrote for the exhibition I curated at Salisbury Museum in Wiltshire, which took place from 16 October 2021 – 16 January 2022, and which also included an exhibition of work by the wood engraver Howard Phipps. It was featured on BBC Radio 4's arts programme, 'Front Row,' <a href="https://www.bbc.co.uk/programmes/m0012fmf" target="_blank">on 16 December 2021</a>. </span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB-fRx6qDSD4DpN-Ad-ZmbJJEi-Lveu48Nhr6A6jUICDdShD65VTEfxSRz7WzZ5ugX-Rw1h0GxVGrdB4erpQBG5mwvRg5BqKQzGJviI1fNFjeE0R93BNeXfhMBe5trcb5jMxGDajhbYhD9RzjYCDkIbxtXipcIMKelwBDlWIh3Fq0yD2CqWPaek1Eh/s4252/074.%20Poplars%20in%20France;%2084%20x%20179;%20edition%20of%20100;%201916.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: arial;"><img border="0" data-original-height="2202" data-original-width="4252" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB-fRx6qDSD4DpN-Ad-ZmbJJEi-Lveu48Nhr6A6jUICDdShD65VTEfxSRz7WzZ5ugX-Rw1h0GxVGrdB4erpQBG5mwvRg5BqKQzGJviI1fNFjeE0R93BNeXfhMBe5trcb5jMxGDajhbYhD9RzjYCDkIbxtXipcIMKelwBDlWIh3Fq0yD2CqWPaek1Eh/w469-h243/074.%20Poplars%20in%20France;%2084%20x%20179;%20edition%20of%20100;%201916.jpg" width="469" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;"><br /></span></td></tr></tbody></table><div><span style="font-family: arial;"><br /></span></div><h3 style="text-align: left;"><span style="font-family: arial; font-size: x-small; font-weight: normal;"> <span> </span><span> <span> </span><span> </span><span> </span></span>Gwen Raverat, <i>Poplars in France</i> (1914), private collection</span></h3><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">The technology of printing onto paper from wooden blocks goes back many centuries: its earliest origins have been dated to Ancient China in the first centuries AD. Both printing and paper-making technology arrived in Europe from China some time in the thirteenth-century, with Johannes Gutenberg going on to invent his famous printing press using moveable metal type in 1439. This heralded a printing revolution that helped change the world. </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">The illustrations that appeared in many of the first European printed books were made using wooden blocks fashioned with traditional wood working instruments such as knives, gouges and chisels. These cut an image along the grain of the wood (like working into the soft face of a plank, rather than the much harder end grain). Though usually intended to accompany a piece of text, these woodcut images could nonetheless became highly desirable items in their own right. In the hands of a master-practitioner such at the German artist Albrecht Dürer, who worked in the late fifteenth and early sixteenth century, incredible detail could be achieved. The technique became hugely popular for producing mass-produced images through to the early modern period, when it was largely replaced by engraving onto metal plates (principally copper). </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">But a woodcut is not quite the same thing as a wood engraving. </span><div><span style="font-family: arial;"><br /></span></div><div><b><span style="font-family: arial;">Thomas Bewick </span></b><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">
A wood engraving differs from a woodcut in that the image is cut along the end grain of the wood block, using fine metal engraving tools, such as a burin or graver, originally intended to engrave copper plates. The perfection of this seemingly simple innovation (which made for longer-lasting blocks with much finer detail and expression) is generally credited to the English craftsman and naturalist, Thomas Bewick (1753 –1828). </span></div><div><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyxqRohd4rLKzfYmJUHCAxK_s4WzQotIIKM2SsKOyPLYYHcUGZqR-AfDYsBek8LzDMwB-JcKKvFNIfkjHfa0VkmA-ewzQs0nThmiob0p0HJwSoZF7glBUCqewmcbrNGvc0zMxnHMqD4CkpwWUjKqMoJo5D3XsR3Ladz8ogOBiEFfEYwJQhjwSiVNjB/s800/Chillingham_Bull_by_Thomas_Bewick_1789.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="569" data-original-width="800" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyxqRohd4rLKzfYmJUHCAxK_s4WzQotIIKM2SsKOyPLYYHcUGZqR-AfDYsBek8LzDMwB-JcKKvFNIfkjHfa0VkmA-ewzQs0nThmiob0p0HJwSoZF7glBUCqewmcbrNGvc0zMxnHMqD4CkpwWUjKqMoJo5D3XsR3Ladz8ogOBiEFfEYwJQhjwSiVNjB/w423-h301/Chillingham_Bull_by_Thomas_Bewick_1789.jpg" width="423" /></span></a></div><span style="font-family: arial;"><br /></span></div></div></div><blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><div><div><div><div style="text-align: left;"><span style="font-family: arial; font-size: x-small;"><span> </span><span> </span><span> </span><span> <span> </span><span> </span><span> </span></span>Thomas Bewick, <i>The Chillingham Bull </i>(1789), private collection</span></div></div></div></div></blockquote></blockquote><div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Bewick was born into a Northumberland farming and mining family who lived in the village of Mickley, a dozen miles or so west along the River Tyne from Newcastle. Bewick’s childhood home, Cherryburn House, still stands, and is now owned by the National Trust. In 1767 the teenage Bewick was apprenticed to a jewellery, enamelling and engraving business in Newcastle. It was there that he began engraving on wood, developing the techniques and style for which he would become famous. His illustrated books, Aesop’s Fables, A General History of Quadrupeds and A History of British Birds, enjoyed remarkable popularity and renown in the nineteenth century, both in Britain and abroad. </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><b><span style="font-family: arial;">White Line Engraving </span></b></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Traditionally, woodcut designers had carved their wooden printing block to create lines emulating those made in a pen drawing. Think of cutting two parallel grooves into a square piece of wood: when printed, this will create a black line between two white lines in a black background. This is known as black-line engraving, and it mirrors the effect achieved by copper plate engraving. (When printing from a copper plate, the cut line is filled with ink, and when run through a heavy press the line prints black. In a woodblock print, however, the cut line is not exposed to ink, and it thus prints white.) </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Bewick reconceptualized printing from wooden blocks by focusing his designs on the white lines that he cut away from the block with his tools. His method is known as white-line engraving. (This can seem a little confusing at first, for conceptually it is a little tricky to get one’s head around the difference.) Bewick’s method allowed him to use his tools with a much greater degree of flexibility and freedom of expression, and to achieve far greater variation of tone. More subtle effects could also be gained by combining both techniques. </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Through the course of the nineteenth century, wood engraving became hugely popular worldwide as a method of mass-producing cheap images. However, whilst Bewick had drawn, cut and printed his own works himself, wood engraving became an increasingly industrialised process, with each stage carried out by a different operative. The intimate relationship between artist and end product was lost. </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><b>Revival</b> </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">In 1821 another English artist-engraver, William Blake, produced a remarkable series of white-line wood engravings as illustrations for an edition of Virgil’s Eclogues. Blake’s young friend, the painter Samuel Palmer, would famously describe them as ‘visions of little dells and nooks and corners of Paradise: models of the exquisitest pitch on intense poetry.’ They rather overlooked at the time, would later prove hugely influential on a generation of twentieth-century British artists. </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">It was not, however, until the 1890s that a coterie of British artists, Charles Ricketts, Charles Shannon and Lucien Pissarro, re-established the link between artist and medium. Thomas Sturge Moore, Edward Gordon Craig followed their lead into the early twentieth century, and in 1905 the artist Noel Rooke began teaching what would eventually prove to be an influential course in wood engraving and book illustration at the Central School of Arts and Crafts in London (now part of Central Saint Martins College of Arts and Design). In a 1925 lecture, Rooke would advise that there was ‘only one way of getting a thoroughly satisfactory engraving: the designer and the engraver must be one and the same person.’ </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">An important early figure in the new generation of modern wood engravers was Gwen Raverat (1885–1957). A granddaughter of Charles Darwin, she had first seen and admired Bewick’s wood engravings as a teenager. In 1908 she went to study at the Slade School of Art in London, where her contemporaries included Stanley Spencer (who became a close friend) and Paul Nash (1889–1946). Though it might not seem a technique particularly suited to daring young advocates of the machine age, Modernist artists soon put wood engraving to startling effect. In 1914 and 1915 two Slade graduates, the Vorticists Edward Wadsworth and Percy Wyndham Lewis, printed powerful wood engravings in both editions of the avant-garde journal, <i>BLAST</i>. </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">The growing interest in wood engraving led a group of British artists, including Lucien Pissarro, Edward Gordon Craig, Robert Gibbings, Gwen Raverat and John Nash (1893–1977), to found the Society of Wood Engravers in 1920. Their annual exhibitions attracted contributions from other important British artists. They included John’s brother Paul, whose modernist artistic sympathies lay with the Vorticists, and the more traditionally minded Clare Leighton (1898–1989), a recent graduate from the Slade. </span></div><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPkMxGx1x0mdtPq5ckYVGYarMbaiWSwthLc3dbIajQDoPWnQa2Nwx9qV3VT71KkRYT3616c2hNG_0ya4QBEsfIFQZ2h0bvxJqtPd9BAZxMe6CoD6Rfk570Jg6vouDZTZ8xRkKudL12qziUz2zqYk_On8P0WSlk6ipfdkqJBkzJcBNk5Yy-tCLX6Gs2/s980/Nash,%20Black%20Poplar%20Pond%20(1922).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="980" data-original-width="735" height="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPkMxGx1x0mdtPq5ckYVGYarMbaiWSwthLc3dbIajQDoPWnQa2Nwx9qV3VT71KkRYT3616c2hNG_0ya4QBEsfIFQZ2h0bvxJqtPd9BAZxMe6CoD6Rfk570Jg6vouDZTZ8xRkKudL12qziUz2zqYk_On8P0WSlk6ipfdkqJBkzJcBNk5Yy-tCLX6Gs2/w367-h490/Nash,%20Black%20Poplar%20Pond%20(1922).jpg" width="367" /></a></div><span style="font-family: arial;"><span style="font-size: x-small;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> <span> </span><span> </span> </span>Paul Nash, <i>Black Poplar Pond</i> (1922), private collection<br /></span><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">In the years immediately after the First World War two new art schools were established where the study of wood engraving was promoted alongside other classes and courses. In 1921 Leon Underwood (1890–1975) founded the Brook Green School of Art in Hammersmith, south-west London. Though his most famous pupils would prove to be the sculptors Henry Moore and Barbara Hepworth, his printmaking students included Gertrude Hermes (1901–1983) and Agnes Miller Parker (1895–1980). Both would become leading practitioners of the art form. Then in 1925 Iain Macnab (1890–1967) established the Grosvenor School of Modern Art at his home in Warwick Square, Pimlico, south London. Best known today for its coloured linocuts – especially those by Claude Flight, Sybil Andrews and Cyril Power – it was also an important centre for teaching wood engraving. Macnab’s students included Tom Chadwick (1915–1942) and Rachel Reckitt (1908-1995). </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">It was Paul Nash who encouraged one of his hugely talented design pupils at the Royal College of Art, Eric Ravilious (1903–1942), to exhibit with (and eventually join) the Society of Wood Engravers. Though best known today for his beautiful watercolours of the English countryside and the ships and planes of the Second World War, Ravilious started his career as an engraver and muralist. Through the 1920s and 1930s he made numerous highly accomplished and assured white-line wood engravings, and was another leading practitioner, as well as something of an experimenter. His friend Edward Bawden would recall how Ravilious ‘never made the slightest mistake or showed the faintest indecision. His cutting was superb.’ Ravilious would in his turn teach the art to others, and his own pupils at the Royal College of Art would include the painter and wood engraver John O’Connor (1913–2004). </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">The various small private printers and publishers that thrived in this period – the Curwen Press, the Gregynog Press, the Golden Cockerel Press and the Nonesuch Press, among others – commissioned numerous artists to design illustrations for their sumptuously decorated books. As well as the artists whose work is included in this exhibition (which hardly aims to be definitive), there were numerous other important twentieth-century British wood engravers. They include Mabel Annesley, Robert Gibbings, Eric Gill, Blair Hughes-Stanton, David Jones and Reynolds Stone, among others. </span></div><div><span style="font-family: arial;"> </span></div><div><span style="font-family: arial;">When Gibbings took over the Golden Cockerel Press in 1924 he noted that wood engravings were not to be considered as ends in themselves, but as the accompaniments to text. For Gibbings, and others, the relationship between word and image was integral and indelible, as it had been for Thomas Bewick. But wood engravings were not only to be seen in specialist, limited edition works: popular books were often illustrated in this way, too. John Farleigh (1900–1965), for example, designed wood engravings for George Bernard Shaw’s allegorical tale, The Adventures of the Black Girl in her Search for God (published by Constable of London in 1932), whilst Clifford Webb (1894–1972) is perhaps best known for his illustrations for Arthur Ransome’s children’s book, Swallows and Amazons (published by Jonathan Cape in 1931). </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">There was a reaction, however, against the notion that wood engravings should always be embellishments to text. In 1925 Leon Underwood left the Society of Wood Engravers to establish the short-lived English Wood Engraving Society. Its member included Gertrude Hermes, as well as the future surrealist painter, Eileen Agar. It sought to promote wood engravings as a medium that could exist independently from any purely illustrative function. Though the Society folded in 1931, with some members rejoining the SWE, as this exhibition shows wood engravings can work equally well both as illustration and as stand alone works of art in their own right. </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">The Wall Street Crash of 1929 – and the Great Depression that followed – curtailed the activity of many of the specialist presses. In 1938 Underwood’s Brook Green School closed, followed by the Grosvenor School of Modern Art in 1940. The Second World War – in which Eric Ravilious would be killed whilst serving as an official war artist with the RAF, and Tom Chadwick at the battle of El Alamein – proved the final nail in the coffin. Though important wood engravers, including Underwood, Hermes, Miller Parker, John Nash and O’Connor, continued to produce significant work long after the war was won, this second golden age of wood engraving effectively came to an end. </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><b><span style="font-family: arial;">A New Era </span></b></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Though George Mackley (1900–1983) published his important guide book, Wood Engraving, in 1948, the technique went into steady decline after the Second World War. A key new talent, however, was Monica Poole (1921–2003), who between 1945 and 1949 was taught by John Farleigh at the Central School of Arts and Crafts. Poole drew inspiration from the Neo-Romantic movement that flourished in the 1940s. Artists such as Graham Sutherland (who had started his own career as a metal engraver before turning to painting) had drawn inspiration from the wood engravings of William Blake and Samuel Palmer’s visionary period painting in Shoreham, Kent, in the 1820s and early 1830s. But as Poole’s obituary in The Guardian observed, ‘this phase of British art was short lived and, as the subject matter of Poole’s work went out of fashion, interest in her preferred medium of wood engraving, by the 1950s, was nearly extinct.’ By that date, there was only one firm in the UK still manufacturing the highly polished blocks of boxwood the engraver depended on. </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">By the 1960s even the Society of Wood Engravers had gone into abeyance. Artists and the public seemed much more excited by the modern world. Pop Art and Abstract Expressionism had little time for something as seemingly old fashioned as wood engraving. But the love of nature, landscape, history – subjects for which wood engraving seems so ideally suited – will not go away. In 1984 there was sufficient revival of interest for the artist Hilary Paynter to revive the SWE. Monica Poole became one of a number of stalwart members showing in the revived annual exhibitions. Of course, not all British wood engravers joined the Society – some highly accomplished artists nurtured their independence. But its growing success reveals the firm re-establishment of wood engraving as a much loved and popular medium through the late twentieth century and into the new millennium. </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">As the examples of work by contemporary wood engravers such as Anne Desmet, RA, Paul Kershaw, Colin See-Paynton and George Tute reveal, it remains possible to find new approaches, with each artist expressing their own interests and individuality. Some like Neil Bousefield are making an exciting addition of colour into their work. Furthermore, specialist publishers such as the Fleece Press have re-emerged, producing carefully crafted books dedicated to the art of wood engraving. And only last year, the Bodleian Library produced a beautiful new edition of Aesop’s Fables with original illustrations by Agnes Miller Parker. Almost two centuries after Thomas Bewick’s death, wood engraving remains a treasured and affordable art form, yet still one that he would still instantly recognise. </span></div><div><span style="font-family: arial;"><br /></span></div><div><b><span style="font-family: arial;"><br /></span></b></div><div><b><span style="font-family: arial;">Further Reading </span></b></div><div><b><span style="font-family: arial;"><br /></span></b></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Thomas Balston, <i>English Wood-Engraving, 1900-1950</i> (Dover Publications, 2016) </span></div><div><span style="font-family: arial;"> </span></div><div><span style="font-family: arial;">Simon Brett, <i>Wood Engraving: How to Do It </i>(Herbert Press, 2018) </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Anne Desmet, <i>Scene Through Wood: A Century of Modern Wood Engraving</i> (The Ashmolean Museum, 2020) </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Andy Friend, <i>John Nash: The Landscape of Love and Solace</i> (Thames & Hudson, 2020) </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Andy Friend, <i>Ravilious & Co.</i> (Thames & Hudson, 2017) </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Anne Hayward, <i>Wood Engraving and Linocutting</i> (The Crowood Press, 2008) </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Clare Leighton, <i>Four Hedges </i>(Little Toller Books, 2010) </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">George Mackley, <i>Wood Engraving</i> (National Magazine Company, 1948) </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Jenny Uglow, <i>Nature's Engraver: A Life of Thomas Bewick</i> (Faber & Faber 2007)</span></div></div>David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0tag:blogger.com,1999:blog-7075226537192406884.post-23251454068027730392020-09-30T11:19:00.000+01:002020-09-30T11:19:14.869+01:00Maxwell Doig at Messum's St James's, Mayfair, London<p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;">It’s always interesting to watch the way an artist develops and grows. And it’s especially interesting seeing one who was once so preoccupied with the human form that as a student he studied human anatomy move away from painting figures to painting buildings instead. True, his central concern with the figure had always been the architecture of its form, with all its various positions and angles, rather than with the individual personality of the model (he was certainly never a portraitist). Yet in a way Maxwell Doig is still painting figures: in his attention to their character and individual detail, hi<o:p></o:p></span><span style="font-family: Arial; font-size: 10pt;">s buildings and boats and abandoned objects seem almost like individuals, in the same way Paul Nash once described trees as being like people to him, each with their own particular personality.</span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span style="font-family: Arial; font-size: 10pt;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial; font-size: 10pt; margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvNc4RsbGFaGwqUt1iLu2Wq3QxY6oHUaBlXKL5lcpq65Cn4UVo7Ol54THF0D1a-cdWRKgHA2UvAzzyNa2klrsfhGbPd1fsOs6KiCwkL-3JM883qTyKkVvPoOsr6nOPx2Z2Skh1V2behhk/" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="671" data-original-width="900" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvNc4RsbGFaGwqUt1iLu2Wq3QxY6oHUaBlXKL5lcpq65Cn4UVo7Ol54THF0D1a-cdWRKgHA2UvAzzyNa2klrsfhGbPd1fsOs6KiCwkL-3JM883qTyKkVvPoOsr6nOPx2Z2Skh1V2behhk/w396-h296/44476_w_900.jpg" width="396" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /><span style="font-family: arial; font-size: x-small;">Maxwell Doig, <i>Moorland Gable End</i> (acrylic on canvas, 660 x 860 mm) <br /></span></td></tr></tbody></table><br /><br /></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"> Perhaps, then, painting people was Doig’s route to now painting the buildings he records in his distinctive, inimitable manner. Certainly he himself feels that he has brought the awareness of balance and poise gained from his early anatomical studies whilst a post-graduate student at the Slade School of Art into these new works that have preoccupied him for the last six years. Indeed, as good as his paintings of people were, in buildings he has perhaps found his true subject. As he acknowledges, he has always had a fascination with them, and he is only surprised that he didn’t start painting them sooner. It wasn’t until he was approaching his fifties that he first saw them as an appropriate subject for his art. With the growing feeling that he had taken the figure as far as he could, he was gradually losing interest in painting people. It was then that he was struck by the idea of painting buildings instead. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"> He had always been interested in the shape of a suddenly glimpsed gable end, or the decayed surface and texture of the derelict factories that surrounded him in the town where he grew up and still lives – Huddersfield, in West Yorkshire. The turning point came in 2014, however, with a derelict house not far from home that particularly interested him. ‘The building itself I had always liked and photographed for years,’ he remarks. ‘The transition moment happened in the studio, when I realised I could use the surfaces and textures I normally used in the background for figures, as the central subject.’ This building became the large painting <i>Gable End</i>– the first of a series of studies of one side of this house viewed at different times of day and in subtly different lights. ‘It was,’ he acknowledges, ‘a turning point for me.’ And it all came so easily. When he started painting buildings he found it all perfectly natural – like he had always been doing it. So much so that it surprised him that he hadn’t started doing it much earlier.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"> They were and still are often the sort of places passersby simply overlook. One of the wonders of this part of Yorkshire is the sudden transition from urban to rural: the industrial revolution kicked off around here partly because of the easy access to water power, and large buildings can be stumbled upon in unexpected locations. ‘They’re so big many people just seem to overlook them,’ Doig remarks of the old mills that dot the landscape. ‘With the exception of Peter Brook in the 1950s and ‘60s, nobody paints them.’ One that features strongly in this exhibition is Lord’s Mill, a Grade II listed building in the village of Honley, not fat from Huddersfield. Built in the early 1790s and subsequently expanded, it was in use until at least the 1950s, when its roof was destroyed by fire. It is now abandoned – boarded up and graffitied. ‘It’s like I’m the only person who’s really looked at it,’ he observes. ‘It’s nearly as old as America – it’s amazing! But it just goes unnoticed – the location’s fantastic, in a wooded valley, really romantic. It’s like a Bruegel, or one of those early painters from Ghent – valley, wood, river, rolling hillsides.’ <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"> Certainly when seen like this they are the Modern Romantic’s equivalent of Tintern Abbey, the Welsh monastic ruins captured so famously by J.M.W. Turner in the 1790s, just when buildings like Lord’s Mill were going up (built, like Tintern, on the wealth generated by wool). And when seen up close there’s plenty there too to attract the attention of the discerning artist: old roof lines, patches of plaster, mould and decay, the sandstone of the region carrying its age interestingly, telling the stories of these places, their history, the records of past industry and past lives. These stones certainly speak. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"><br /></span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="line-height: 20px;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial; font-size: 10pt; margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr2cHjwRscM4j8nVIbBvs0mNbmf5SJRYkOl_FyC4Aa8jKzDPX-UrgUR9osCriNcayRmqQWzg3YgXex8K-kqkznX0k0pc4GwJP_qxvcAAAySSsKbujyUhG91GMasx8IG-JCL14Yxqp3FB0/" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="900" data-original-width="659" height="469" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr2cHjwRscM4j8nVIbBvs0mNbmf5SJRYkOl_FyC4Aa8jKzDPX-UrgUR9osCriNcayRmqQWzg3YgXex8K-kqkznX0k0pc4GwJP_qxvcAAAySSsKbujyUhG91GMasx8IG-JCL14Yxqp3FB0/w344-h469/44502_w_900.jpg" width="344" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /><span style="font-family: arial; font-size: x-small;">Maxwell Doig, <i>Lord's Mill with Fence in Snow</i> (acrylic on canvas, 1020 x 750 mm)</span></td></tr></tbody></table></span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"><br /></span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"> Doig makes a great deal of the sudden juxtaposition – so frequent in this part of Yorkshire – between the urban and the rural. Seeing his work as ‘essentially romantic’, he does not look at these buildings or the detritus of heavy industry as an intrusion upon the landscape, but rather as partners and compliments to it. The Colne Valley was another of West Yorkshire’s centre of industrial activity. But as Doig remarks of the scrapheap he discovered there that is also the subject of a number of paintings and prints in this show, ‘it fits really nicely with the landscape – big chunks of heavy machinery, the abstract, geometric shapes.’ The same is true of the boats he saw on the Isles of Arran and Mull during a trip to Western Scotland in 2019: they fit neatly in to their similarly rugged landscape, one that has been the place of human habitation and activity for centuries. They are like the past life of the mills and the scrapheaps after snow – a jigsaw of pattern that reflects poignantly on former glories.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"> His feeling that he was doing something worthwhile in this new direction was confirmed a few years ago when Doig discovered what he calls ‘the subtle, quiet’ work of the English painter Algernon Newton (1880–1968). To my mind, Newton was one of the finest RA’s of the twentieth century, his oddly brooding and slightly surreal paintings of urban canals, suburban houses and bare English countryside not having quite the attention they deserve – though he is highly collectable. ‘There's a particular stillness and quality of light which resonates with me in both his landscapes and architectural works,’ Doig explains.</span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"><br /></span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="line-height: 20px;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial; font-size: 10pt; margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYEvBc05yII7Yd9YEYoF9nvx-sT-pqJY36AvsFaGziIpUXuMYgrLLU3sLaF7Z4MqZzuq_IEA33EJ1TUNzjqFF6zK4CCJ7ylS03UX5m31iI5ePU4V6mXZAMu_Wp-hqSUBLOokqvWbVov64/" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="900" data-original-width="692" height="389" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYEvBc05yII7Yd9YEYoF9nvx-sT-pqJY36AvsFaGziIpUXuMYgrLLU3sLaF7Z4MqZzuq_IEA33EJ1TUNzjqFF6zK4CCJ7ylS03UX5m31iI5ePU4V6mXZAMu_Wp-hqSUBLOokqvWbVov64/w300-h389/44486_w_900.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /><span style="font-family: arial; font-size: x-small;">Maxwell Doing, <i>Pennine Hillside with Church Spire</i> (monoprint, 380 x 290 mm))</span></td></tr></tbody></table><br /></span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"><br /></span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"> One noticeable development in Doig’s work since his previous exhibition at Messum’s in 2018 is his widening viewpoint. These recent paintings often incorporate more of the landscape, as the artist has stepped back from buildings that previously almost completely filled the frame and in which the heavily textured surface of stone and plaster could be read almost as landscapes in themselves. This widening of view in part reflects his increasing confidence and ever growing technical ability as an artist. But he has also become even more interested in atmosphere, ‘in doing more with light and mood – pushing it all a bit further,’ as he says. This concern with varying and changing impressions and effects of light and ambiance is seen most clearly in the series of paintings of the early nineteenth-century lighthouse at Flamborough Head, not far from Bridlington, on the North Yorkshire coast. This is a place he has known since first making holiday visits there as a child, and his new works advance on the paintings of the same building exhibited in 2018. As the artist explains, <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"> </span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt 36pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;">I wanted to explore it further by painting it at different times of the day and with different weather conditions. For example, <i>Early Morning at Flamborough Head Lighthouse</i>(dark blue sky, bright white lighthouse) is a view from the east at 6 am, summertime. <i>Sea Fret at Flamborough Head Lighthouse</i>(pale, misty image of lighthouse) was painted in winter, whilst <i>Late Afternoon at Flamborough Head Lighthouse</i>was painted in spring ... I love to paint white buildings, especially lighthouses – the way they reflect light, especially when the sky is darker than the lighthouse. It's an exciting contrast to the sandstone buildings of my native West Yorkshire, which tend to absorb light. Alongside this, the coastal weather at Flamborough is constantly changing. The position of the lighthouse and shape of the landscape means the viewpoints and angles are many. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"> </span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"> With his insatiable attention to detail and his fascination with light and atmosphere, we are reminded of another West Yorkshire artist, the Victorian painter John Atkinson Grimshaw (1836–1893). Though he particularly loved to paint by night, the parallel with Doig is most notable in the latter’s monotypes. In these one-off works such as <i>Twilight Gable End</i><i>with Trees</i>and <i>Winter Scrapyard in Snow</i>Doig skillfully uses black and white to convey a deep sense of mood. They are a fantastic compliment to his colour work.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: start;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 20px;"> Doig is certainly not standing still. With his growing confidence together with his keenness both to continue exploring his own back yard whilst simultaneously widening his travels further afield, it is exciting to see what he will do next.<o:p></o:p></span></p><br /> <br /><br /><div class="separator" style="clear: both; text-align: center;"><br /><br /></div><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /></div><p></p>David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0tag:blogger.com,1999:blog-7075226537192406884.post-75192132657321158632020-06-11T09:48:00.001+01:002020-06-11T09:48:59.002+01:00Jeremy Annear at Messum's London<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><i>Black Polka</i> (2020)<br />oil on canvas, 150 x 120 cms</td></tr>
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<span style="font-family: Arial; font-size: 12px;">The Cornwall-based artist Jeremy Annear has a new exhibition at David Messum's new gallery in Bury Street, St James's Mayfair, London, opening this week, June 2020. This is the essay I wrote to accompany the catalogue.</span></div>
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<span lang="EN-US" style="font-family: Arial; font-size: 9pt; line-height: 18px;">It might at first seem odd to call Jeremy Annear a Surrealist, but it’s not a bad place to start. With titles like ‘Dream I,’ ‘Nocturnal Muse’ and ‘Harbour Moon III’, and with their mysterious evocation of place and mood, there’s a subtlety to these enigmatic, inviting paintings that speaks of a more distant and different world – like one glimpsed, half-darkly, in a mirror.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; font-size: 9pt; line-height: 18px;"> It is exactly a century since the French poet André Breton began his experiments in ‘automatic writing’ that led him to the invention of what he called ‘Surrealism’. It would go on to become one of the most important literary and artistic movements of the twentieth century, embracing artists as diverse as Salvador Dali, Henry Moore, Pablo Picasso and Paul Nash. And it’s fifty-three years since Annear – then a young student at Exeter College of Art – met Roland Penrose, one of Britain’s leading Surrealist artists, advocates and collectors. Breton had died the previous year, and Penrose was in Exeter helping to curate ‘The Enchanted Domain’, a city-wide celebration of Surrealism. Participants included a number of other key figures in the British Surrealist movement – among them E.L.T. Mesens, Conroy Maddox and George Melly. Annear’s job was to help Penrose in hanging an exhibition of Surreal art.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; font-size: 9pt; line-height: 18px;"> Even now, over half a century later, Annear’s recalls that experience with pleasure. But did its influence rub off on his art? He admits that he does see something of Surrealism in his early work, whilst collage – a significant Surrealist technique – has been something that has interested him greatly over the course of his career. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; font-size: 9pt; line-height: 18px;"> But at first glance Annear’s powerful current work must clearly be placed in the great tradition of twentieth-century British abstraction. That movement had as its leading figure in this country the painter Ben Nicholson. He was no Surrealist – indeed, in the mid 1930s, when Nicholson was at the height of his powers, Abstraction and Surrealism appeared entirely antithetical. Yet one of the key influences on young Nicholson had been the Cornish naïve artist, Alfred Wallis. Famously, Nicholson had run into the retired mariner outside his little terraced house in the back streets of St Ives in 1928. Wallis was just the sort of untrained, visionary ‘outsider’ artist the Surrealists liked to fête – in the way the Parisian Surrealists admired the self-taught tax collector, Henri Rousseau.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Cabaret-sur-Mer </i>(2020)<br />oil on canvas, 60 x 40 cms</td></tr>
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<span lang="EN-US" style="font-family: Arial; font-size: 9pt; line-height: 18px;"> It was family holidays in St Ives in the early 1960s that first led Annear to Modern European Art: it was exactly there as a teenager that he first knew he wanted to become a painter. Though Paul Nash had extolled the powerful potential of the ‘Seaside Surrealism’ he had discovered in the Dorset town of Swanage in the 1930s, St Ives offered a different mode of Modernity. This was definitely and definitively a town of Abstraction – witnessed in the presence of leading abstract artists such as Barbara Hepworth, Terry Frost, Roger Hilton, Peter Lanyon and Wilhelmina Barns-Graham. The influence of the art being made by artists such as these was enough to draw Mark Rothko, the doyen of American Abstract Expressionism, to St Ives in the summer of 1959. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; font-size: 9pt; line-height: 18px;"> As Rebecca Wright wrote in <i>Studio International</i>on the occasion of a Rothko exhibition at London’s Whitechapel Gallery in October 2011, <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 9pt; line-height: 18px;">Although the St Ives School has, at times, been presented as derivative of Abstract Expressionism, by exploring how American artists made the pilgrimage to St Ives to make contact with British artists this exhibition confounds any accusation of imitation. Instead, it reveals a collaborative dialogue in which artists from either side of the Atlantic are growing and learning together. It somewhat levels the geographic playing field, no longer pitting Abstract Expressionism as the dominant player, but presenting both groups as preoccupied with a similar endeavour.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; font-size: 9pt; line-height: 18px;">What Wright does not note, however, is that one of the influential spurs towards Abstract Expressionism had been Surrealism. The great American Abstract Expressionist Robert Motherwell was, first off, a Surrealist. And it was Motherwell who during World War Two encouraged a young Jackson Pollock to take lessons at the exiled Atelier 17, the famous Parisian printing school run by the English Surrealist, Stanley William Hayter (whose work Annear greatly admired, and who was a considerable influence upon him).<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Three Beats in a Bar X </i>(2020)<br />pencil and ink on paper, 21 x 30 cm</td></tr>
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<span lang="EN-US" style="font-family: Arial; font-size: 9pt; line-height: 18px;"> The link between Abstraction and Surrealism was thus quite close (both historically and for Annear himself). Indeed, in 1940 Ben Nicholson used the phrase ‘abstract Surrealism’ to describe the work of his friend, Henry Moore, who was still exhibiting sculpture and drawings with the British Surrealists. But then, as Moore observed, ‘All good art, has contained both abstract and surrealist elements, just as it has contained both classical and romantic elements – order and surprise, intellect and imagination, conscious and unconscious. Both sides of the artist’s personality must play their part …’ Thus in Annear’s work – as in Moore’s – we have a fruitful meeting of these two key Modernist movements. And one must always remember that the artist Annear most admires is Braque, the French artist he calls ‘my painting father – the highest influence’.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; font-size: 9pt; line-height: 18px;"> So if Annear is an Abstract artist with a small debt to Surrealism, what are we to make of his relationship to landscape? Born in Exeter in 1949, and having moved from Devon to Cornwall in 1987, he is deeply rooted to the landscape of the West Country. But although he loves exploring the outdoor world, interestingly he does not really consider himself a landscape painter – or even a Romantic. He doesn’t feel like he analyses landscape, though place is still important to him: as he states, his paintings do make ‘odd connections between places and ideas.’ <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; font-size: 9pt; line-height: 18px;"> This comes out most clearly in works that – in their titles at least – clearly relate to very particular locations. Cameret-sur-Mer and Roscoff in the Finistére commune of Brittany, for example, are two places that inspired a number of works in the current exhibition. Across the course of five visits to north-west France in 2019 he was deeply struck by the impression the Atlantic Ocean makes upon the coastline there. He explains that these works all ‘relate to harbours, to harbour structures and the large wrecked trawlers along the coastline, with their extraordinary colours and shapes often against a winter sky. I’m very fond of Roscoff.’ Likewise, the ‘Siesta Song’ trilogy, with their rich, rust-coloured browns, were inspired by a period spent painting in Spain, and suggest what he describes as ‘the reverie of after lunch wine and music.’<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; font-size: 9pt; line-height: 18px;"> When present in a landscape, Annear explains that he sees shapes, colours and forms through the periphery of his vision, and that these might give him inspiration and ideas. But his work is neither narrative nor topographical, and despite the occasional references to particular locations, these are decidedly not paintings of places. All are painted at home in his studio in Cornwall, away from places of inspiration, where he searches for what he calls his ‘given language’ and learns to speak it ‘as fluently as I can.’ He works in silence, but likes to play music between periods of painting. Jazz and chamber music are great passions – something that, again, titles such as ‘Black Polka’, ‘Blue Meolody’ or ‘Contra Tone’ reflect. But as he explains, he never has a particular title in mind whilst he’s working; these always come afterwards, with each finished work evoking a mood when he looks at it, and inspiring the name he chooses to give to it. <o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Eclipse VI </i>(2020<br />oil on canvas, 30 x 25 cms</td></tr>
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<span lang="EN-US" style="font-family: Arial; font-size: 9pt; line-height: 18px;"> On his process of painting, Annear states that he always paints in oil, always onto an earth or ochre ground, working wet into wet, building up, scraping off, giving the works their extraordinary patina. With decades of experience behind him, he hardly uses a brush anymore – fingers, rag, palette knife are his primary tools. From a distance the paintings look smooth and pure of surface, but when you look closely you see the marks, the under-drawing, the smudges and fuzzy edges – the edges are very important to him. He ‘just lets it all happen,’ he explains – and here we may look back to Surrealism, and the realm of chance and ‘happy accidents’.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; font-size: 9pt; line-height: 18px;"> As those years of experience emphasize, there is always something pure underlying what Annear does. Born into that fundamental denomination of the Plymouth Bretheren, he joined the Russian Orthodox Church some years ago. Religion thus also plays a significant part in his contemplative approach to his art, what he sees as the psychological relationship of shapes and ‘a preoccupation with a kind of mystical geometry’. (Among the works of art that decorate his studio, there are numerous little religious icons; his own work is obviously very different, but one can see the connection between them.) He goes further, talking of ‘the mystical element of faith’ and ‘a search for perfection that will never come – yet that I’m always hopeful of discovering.’ <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; font-size: 9pt; line-height: 18px;"> Contemplative is thus perhaps the final word for understanding and appreciating Annear’s most recent work. These are paintings that need to be looked at, returned to, pondered over, contemplated – like the contemplation and calm that has gone into creating them. From simple shapes and colours, lines and curves and a devotion to edges, borders and boundaries, emerges profound beauty and meaning.<o:p></o:p></span></div>
David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0Bury St, St. James's, London SW1A, UK51.506909 -0.138524851.504438 -0.1435673 51.50938 -0.1334823tag:blogger.com,1999:blog-7075226537192406884.post-17808299050123364132020-05-10T15:29:00.000+01:002020-06-11T09:50:43.031+01:00Surreal Origins<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; line-height: 24px; margin: 0cm 0cm 0.0001pt 1cm;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;">This is the opening section of my introduction to the catalogue of the Dulwich Picture Gallery's exhibition, <i>British Surrealism </i>(2020).</span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;">Surrealism … is first and foremost a method of investigation and contains in itself a force which has always existed, a faculty as permanent as dreaming. Of course, Surrealism is an historical phenomenon … but its faith is that it always has existed, and always will.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;"> Georges Hugnet, ‘1870 to 1936’, in <i>Surrealism</i>, edited by Herbert Read (1936)<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[1]</span></span></span></a><o:p></o:p></span></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7eMMQUpr7N9oezQv_9_ujN59dBTWI-C06VU2gepRJiFa06YTSfZW_AnDVJ8IV3cQ0bM7g26LRrifvFV9ecgiL0aKuPzczuEoO9jUzT0WRQjkeJjQrNJ4s28SGPhXaOQbeyyNamSPo7Vg/s1600/Andre%25CC%2581_Breton-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1207" data-original-width="950" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7eMMQUpr7N9oezQv_9_ujN59dBTWI-C06VU2gepRJiFa06YTSfZW_AnDVJ8IV3cQ0bM7g26LRrifvFV9ecgiL0aKuPzczuEoO9jUzT0WRQjkeJjQrNJ4s28SGPhXaOQbeyyNamSPo7Vg/s320/Andre%25CC%2581_Breton-1.jpg" width="251" /></a></b></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;">‘Except for André Breton,’ the young English Surrealist poet David Gascoyne wrote in 1935, ‘the Surrealist movement could never have existed, for it is as difficult to imagine it without him as it is to imagine psycho-analysis without Freud.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[2]</span></span></span></a> Born in Normandy in 1896 to a family of modest standing, Breton had just started training for a medical career when the Great War erupted in July 1914. Conscripted into the artillery, he was eventually assigned to the Service de Santé des Armées, working behind the front lines with the casualties of war. In 1916 he had the good fortune to meet the poet Guillaume Apollinaire (1880-1918), one of the leading figures in the Parisian avant-garde. Around the same time he met Jacques Vaché, an eccentric young writer, painter and soldier who had also been hospitalized by his war injuries. Breton was fascinated by Vaché’s love of costume and disguise: ‘He created an atmosphere for himself that was both dramatic and full of spirit,’ Breton recorded, ‘while arming himself with a pack of lies that he would toss out with no compunction.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[3]</span></span></span></a> Vaché could only survive the horrors of the Great War – as gruesomely delineated in Percy Delf Smith’s 1919 etching, <i>Death Awed</i> – by finding humour in it. ‘How funny it all is!’, he wrote to Breton following his return to the Western Front in the summer of 1917.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[4]</span></span></span></a> At the height of the conflict, as Breton later recorded, ‘It was everything just to stay alive … Writing or even thinking were no longer sufficient in themselves. It was necessary at all costs to give ourselves the feeling of movement, of noise.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[5]</span></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;"> Later that year Breton was transferred to a psychiatric centre attached to the French Second Army. There, in daily contact with mentally traumatized soldiers, he encountered the psychoanalytic theories of Sigmund Freud. Psychoanalysis attempted to penetrate the traumatized unconscious through such techniques as the close examination of dreams, jokes and free-association, and our concealed attitudes to – and fears of – sex, ridicule and death. In a world purporting to be highly civilized, yet descending into the throes of mass-suicide, Freud’s work was deeply influential. Breton started recording the stream-of-consciousness accounts of the patients in what was in effect an early example of Surrealist ‘automatic writing’.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[6]</span></span></span></a> And then he discovered the mysterious Isidore Ducasse, better known by his pen name, the Comte de Lautréamont, author of <i>The Songs of Maldaror</i> (1868-9). The last link in this haphazard chain of causation was the art of the Italian painter Giorgio de Chirico, whose curious metaphysical work Breton first saw in Paris.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;"> These were the literary, painterly and experiential foundations of what would grow to become one of the most outrageous and influential cultural movements of the twentieth century. The word ‘surreal,’ now such a commonplace, was first coined by Apollinaire in 1917. The French prefix ‘sur,’ which means ‘above’ or ‘more than’, suggested for Apollinaire a realism pushed or extended beyond itself. Bu<span style="background: yellow;">t</span> in Breton’s interpretation it was intended to have a much wide range of senses: exaggeration, paradox, surprise, absurdity, the marvellous and the irrational. Apollinaire died of Spanish flu two days before the Armistice of November 1918, whilst Vaché – who ‘objected to being killed in wartime’ – died in Nantes in January 1919 from an overdose of opium that Breton considered deliberate.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[7]</span></span></span></a> By this date, Breton had joined a subversive new cultural movement. Conceived by the young Romanian poet Tristan Tzara in neutral Switzerland in 1916, Dada is perhaps best described as a highly provocative, anarchic ‘Art to end Art’. A reaction to the horrors and absurdities of the War, it merged painting, sculpture, music and poetry with performance, its participants congregating at the Cabaret Voltaire, a small bar in Zurich that hosted exhibitions and variety shows. Dada’s participants were young German, French and Romanian exiles and escapees from the war, none of whom, as one member recorded, with ‘much appreciation for the kind of courage it takes to get shot for the idea of a nation which is at best a cartel of pelt merchants and profiteers in leather, at worst a cultural association of psychopaths’.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[8]</span></span></span></a><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggzBnXzbyFUntwLYVixrhaQ4TRlgyFMxsE2DEy7oNEOzpt2BpcUVbel9ZpUGGrUAlvhfFHd6qDOS6lFGswOq2vrOa7UmGXnJ0nl2xHidoWWzvxt2eyDp0HqBMvyCBDLsQ5xgccOIG1UZQ/s1600/Max-Ernst-At-rendez-vous-friends-1920-p.jpg" imageanchor="1"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggzBnXzbyFUntwLYVixrhaQ4TRlgyFMxsE2DEy7oNEOzpt2BpcUVbel9ZpUGGrUAlvhfFHd6qDOS6lFGswOq2vrOa7UmGXnJ0nl2xHidoWWzvxt2eyDp0HqBMvyCBDLsQ5xgccOIG1UZQ/s320/Max-Ernst-At-rendez-vous-friends-1920-p.jpg" width="320" /></a></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;">The Zurich Dadaists were united by their pacifism, their hatred of international politics and their love of culture. In their banners, posters, performances, collages, sculptures, music, songs, poetry and paintings they seemingly collapsed all meaning into the nonsensical babblings of a baby, or the playful ridiculousness of a child’s hobby-horse. ‘Dada was a spectacular form of suicide,’ David Gascoyne recorded in 1935, ‘a manifestation of almost lunatic despair ... the concrete expression of an almost universal state of mind, a state of mind that had existed even before the outbreak of the War.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[9]</span></span></span></a> In 1917 Tzara opened a Dada Gallery in Zurich exhibiting works by an eclectic range of <i>avante-garde</i> continental artists, including Jean Arp, Giorgio de Chirico, Max Ernst, Wassily Kandinsky, Paul Klee and Amedeo Modigliani.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[10]</span></span></span></a> But the movement was open to all – if they had the imagination.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[11]</span></span></span></a> Along with fellow French poets Louis Aragon and Paul Éluard, and the painter Francis Picabia, Breton eagerly joined the Dadaists, their Parisian group paralleling off-shoots that sprung up in Berlin, Hanover, Cologne and New York.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;"> Dada quickly became the avant-garde movement <i>du jour</i>, heralded (if far from understood) worldwide. In April 1920 a British journalist in Paris wrote that the secret of Dadaism ‘apparently is to say anything ridiculous that comes into your head.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[12]</span></span></span></a> Tzara and Breton soon fell out, however, with Breton announcing in 1921 that ‘the only way for Dada to continue is for it to cease to exist.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[13]</span></span></span></a> By that date he was already experimenting with what would become his new movement: he later identified 1920 as the year his explorations in language ‘assumed the name of Surrealism, a word fallen from the lips of Apollinaire, which we diverted from the rather general and much more confusing connotation he had given it.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[14]</span></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;"> Surrealism was officially launched in October 1924, when two rival factions published their respective manifestoes. A brief conflict over authority followed, which Breton and his allies won. But whilst Surrealism promised freedom, Breton strictly controlled its official participants, and members could be expelled if they failed to meet his rigid expectations. He was thus not always liked, and made enemies among those who, whilst admiring Surrealism’s aims, did not wish to be so closely regulated. Rightly or wrongly, in the British Surrealist Desmond Morris’s opinion Breton was ‘a pompous bore, a ruthless dictator, a confirmed sexist, an extreme homophobe and a devious hypocrite.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[15]</span></span></span></a> Yet Morris, like many other Surrealists, drew on the dynamism that sprang from its debates and disagreements, and which seemed to feed the movement, driving it ever onwards.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;"> As a writer rather than an artist, Breton penned the Surrealists’ chief texts, as well as publishing his own surreal poems and novels. His manifesto offered precise definitions of the new movement:<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;">SURREALISM, n. Pure psychic automatism by which it is intended to express, verbally, in writing or by other means, the real process of thought. Thought’s dictation, in the absence of all control exercised by the reason and outside all aesthetic or moral preoccupations.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;">ENCYCL. <i>Philos</i>. Surrealism rests in the belief in the superior reality of certain forms of association neglected heretofore; in the omnipotence of the dream and in the disinterested play of thought. It tends definitely to do away with all other psychic mechanisms and substitute itself tor them in the solution of the principal problems of life.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[16]</span></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;">Surrealism revelled in dreams, juxtapositions, unconscious acts, chance, déjà vu, madness, surprise, disinhibition and the exploration of the subconscious. As Breton declared: ‘I believe in the future resolution of those two states, apparently contradictory, dream and reality, into a kind of absolute reality, a surreality, if one may say.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[17]</span></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;"> As well as looking to the future, Surrealism also looked backwards – to various progenitors and ‘pre-surrealist’ figures. These included controversial writers such as the Marquis de Sade, whom Apollinaire had once described as ‘the freest spirit who ever existed’.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[18]</span></span></span></a> The poets Baudelaire, Rimbaud, Mallarmé and Lautréamont were all also named as precedents of the Surreal in literature, and in 1936 Georges Hugnet published an essay tracing ‘a thread of Surrealism’ leading back at least as far as 1870. As he explained, Surrealism’s faith was ‘that it always has existed, and always will.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn19" name="_ftnref19" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[19]</span></span></span></a> For as Apollinaire had previously pointed out: ‘When man wished to imitate walking, he created the wheel – which does not resemble a leg. In this way he committed an act of surrealism without knowing it.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn20" name="_ftnref20" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[20]</span></span></span></a><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuUjTfvOMiYezUSj98Ym7-P_eiWYUK5rZ6AvwLe7kCBuML-ThawkgAXwTp5sq_2-78sVBB7vcH0bDnQRr-4r3f3HZJBWZp_WKNQTcLnJ29cfkvt02wAJgenticzISBKm0OL76XmEUIVvM/s1600/Edith-Rimmington%252C-Family-Tree.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1041" data-original-width="750" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuUjTfvOMiYezUSj98Ym7-P_eiWYUK5rZ6AvwLe7kCBuML-ThawkgAXwTp5sq_2-78sVBB7vcH0bDnQRr-4r3f3HZJBWZp_WKNQTcLnJ29cfkvt02wAJgenticzISBKm0OL76XmEUIVvM/s320/Edith-Rimmington%252C-Family-Tree.jpg" width="230" /></a></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[1]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> Georges Hugnet, ‘1870 to 1936’, in Herbert Read (ed.), <i>Surrealism</i> (London: Faber and Faber, 1936), pp. 187-8.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[2]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> David Gascoyne, <i>A Short Survey of Surrealism</i> (London: Cobden-Sanderson, 1935), p. 58.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[3]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> André Breton, ‘The disdainful confession’ (1924), in André Breton, <i>Jaques Vaché: War Letters</i>, translated and edited by Paul Lenti, <i>The Printed Head</i>, Vol. 3, no. 1 (1993), 17.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[4]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> Ibid. p. 40.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[5]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> Ibid. p. 17.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[6]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> See <span style="color: #2c2c2c;">Clifford Browder, <i>Andre Breton: Arbiter of Surrealism</i> (Geneva: Droz, 1969)</span>, pp. 6-8.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[7]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> André Breton, ‘The disdainful confession’ (1924), p. 20 and p. 49.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[8]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> Richard Huelsenbeck, ‘En avant Dada: A history of Dadism’ (1920), in Robert Motherwell (ed.), <i>The Dada Painters and Poets: An Anthology</i> (New York: George Winterborn, 1951), p. 23.<o:p></o:p></span></div>
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<div class="MsoFootnoteText" style="font-family: Cambria; font-size: 12pt; margin: 0cm 0cm 0.0001pt;">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[9]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> Gascoyne, <i>Short Survey</i>, p. 24.<o:p></o:p></span></div>
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<div class="MsoFootnoteText" style="font-family: Cambria; font-size: 12pt; margin: 0cm 0cm 0.0001pt;">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[10]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> Ibid, p. 27.<o:p></o:p></span></div>
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<div class="MsoFootnoteText" style="font-family: Cambria; font-size: 12pt; margin: 0cm 0cm 0.0001pt;">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[11]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> Huelsenbeck, ‘En avant Dada’, pp. 28-9.<o:p></o:p></span></div>
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<div class="MsoFootnoteText" style="font-family: Cambria; font-size: 12pt; margin: 0cm 0cm 0.0001pt;">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[12]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> ‘Paris week by week,’ <i>The Observer</i>, 4 April 1920.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[13]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> Quoted in Gascoyne, <i>Short Survey</i>, p. 42.<o:p></o:p></span></div>
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<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0cm 0cm 0.0001pt;">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[14]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> Andre Breton, ‘Surrealism: Yesterday, To-Day and To-Morrow,’ <i>This Quarter</i>, vol. 5, no. 1, September 1932, p. 14.<b><o:p></o:p></b></span></div>
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<div class="MsoFootnoteText" style="font-family: Cambria; font-size: 12pt; margin: 0cm 0cm 0.0001pt;">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[15]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> Desmond Morris, <i>The Lives of the Surrealists</i> (London: Thames and Hudson, 2018), p. 52.<o:p></o:p></span></div>
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<div class="MsoFootnoteText" style="font-family: Cambria; font-size: 12pt; margin: 0cm 0cm 0.0001pt;">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[16]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> From André Breton, <i>Manifeste du surréalisme</i> (1924), quoted in Gascoyne, <i>Short Survey</i>, pp. 61-2.<o:p></o:p></span></div>
</div>
<div id="ftn17">
<div class="MsoFootnoteText" style="font-family: Cambria; font-size: 12pt; margin: 0cm 0cm 0.0001pt;">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref17" name="_ftn17" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[17]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> André Breton, <i>Manifeste du Surréalisme</i> (Paris: Gallimard, 1924), quoted in Patrick Waldberg, <i>Surrealism</i> (London: Thames and Hudson, 1965), p. 70.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref18" name="_ftn18" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[18]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> Neil Cox, ‘Critique of pure desire, or when the Surrealists were right,’ in Jennifer Mundy, <i>Surrealism: Desire Unbound</i> (London: Tate Publishing, 2001), p. 248.<o:p></o:p></span></div>
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<div class="MsoFootnoteText" style="font-family: Cambria; font-size: 12pt; margin: 0cm 0cm 0.0001pt;">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref19" name="_ftn19" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[19]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> Georges Hugnet, ‘1870 to 1936’, in Herbert Read (ed.), <i>Surrealism</i> (London: Faber and Faber, 1936), pp. 187-8.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref20" name="_ftn20" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span lang="EN-US" style="font-size: 9pt;">[20]</span></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9pt;"> Quoted in Willard Bohn, <i>The Rise of Surrealism: Cubism, Dada and the Pursuit of the Marvelous</i> (Albany: State University of New York Press, 2002), p. 135.<o:p></o:p></span></div>
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David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0Dulwich Picture Gallery, Gallery Rd, Dulwich, London SE21 7AD, UK51.4459781 -0.08637689999999999325.923943599999998 -41.3949709 76.9680126 41.2222171tag:blogger.com,1999:blog-7075226537192406884.post-33978572961887652472018-11-06T14:24:00.002+00:002018-11-14T14:01:53.694+00:00Maxwell Doig at Messum's Gallery, Cork Street, Mayfair, October 2018<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTJIrzN4dgqzHAEJ1_wKabKYm8ejpJDJpx-j_SindBuWPXmnufs-pKLgklmDzWsLwZozI04KbjiV2V4zkCPvcVfAQ62PidMlBrPyGo1WU623_TJcD-qaV960wCB0VcxtONY8CEQFdaFx4/s1600/39725_w_645.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="467" data-original-width="645" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTJIrzN4dgqzHAEJ1_wKabKYm8ejpJDJpx-j_SindBuWPXmnufs-pKLgklmDzWsLwZozI04KbjiV2V4zkCPvcVfAQ62PidMlBrPyGo1WU623_TJcD-qaV960wCB0VcxtONY8CEQFdaFx4/s640/39725_w_645.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Maxwell Doig, <i>Abandoned Farm near Marston Clough</i>, acrylic on canvas on board</span></td></tr>
</tbody></table>
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<span style="font-family: "arial"; font-size: 9pt;">A really good artist makes us look at
the familiar in new ways; things we might once have passed by without a second
glance become suddenly remarkable. Paul Nash did it with his winter landscapes
and paintings of trees; Maxwell Doig does it with the gable end of an old
building, a deserted farmhouse, or the clock tower of an abandoned woolen mill.
What at first sight seems ordinary becomes, through his hands and eyes,
extraordinary. And you can never look at those things in quite the same way
again.</span><br />
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<br />
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"> It
has taken years for Doig to reach this remarkable point – to be able to look,
say, at the Flamborough Head lights</span><br />
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">ouse in North Yorkshire, and paint it in a
way that no-one else has quite achieved before, ‘to see it anew,’ as he says. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"> His
artistic journey started young. ‘I wanted to be a painter even as a little
kid,’ he told me when I visited him recently at his Huddersfield home. Skipping
A Levels, at sixteen he went straight to Batley Art School, already ‘dead set’
on becoming an artist. A significant early encounter came when a friend introduced
him to the veteran Huddersfield painter, David Blackburn (1939-2016). ‘I don’t know any artist to whom I can
compare him,’ Sir Kenneth Clark once observed. ‘Blackburn is not a landscape
artist, not an abstractionist in the ordinary sense. He is a painter of
metamorphosis.’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"> Doig
would never quite become an abstractionist, and looking at his work today you
see little direct link with Blackburn. But it was Blackburn who really taught the
teenage Doig how to see, and how to draw – starting with the simple things: a
still life of fruit or flowers on a table, or an allotment seen out the back of
Blackburn’s modest terraced house. The seasoned artist taught the young student
a valuable lesson: that he did not have to draw <i>everything</i> he saw in the world; you could pick out the salient
points, and abstract from it. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"> ‘He
changed my life,’ Doig admits. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"> What
he learned from Blackburn helped Doig get into Manchester School of Art, and from
there to the Slade School of Art in London. Artists who can draw well have
always attracted him, and draughtsmanship has long been the <i>raison d’etre</i> of the Slade, from Henry
Tonks, Augustus John and Stanley Spencer to William Coldstream and Euan Uglow.
Though a graduate student specializing in printmaking, Doig spent hours in the
life-class, and he also studied human anatomy at University College Hospital.
By the time he left the Slade he was already selling his work, and other than a
brief stint teaching part-time at Leeds Metropolitan University he has made his
living ever since as a professional artist, recognized for his skill as a
painter and his confident yet idiosyncratic approach to his subject matter.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"> His
art has not stood still, however. His post-Slade period was when he came
closest to full abstraction, but he has moved from there through a close focus
on the human form towards the intense yet dream-like realism captured in
buildings, boats and allotments that characterizes his latest work. He has
always shown a keen interest in the surface of his works. ‘In a way,’ he tells
me, ‘it’s all about the surface, the texture.’ That’s why, when he draws, he uses
monotype – a print medium that, as the name suggests, only produces one or – at
very most – two images. He has a wonderful feel for texture, for surface,
patina and palimpsest – prints and paintings alike are very tactile works;
there is this almost irresistible urge to touch them, to run your fingers
across their surface. His flat, featureless skies deliberately accentuate the
texture of his walls, his grass, his trees – even a fall of snow.</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><span id="goog_283936503"></span><span id="goog_283936504"></span><br /></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1zpsf_7zo3Uqep7qGmA-0DaLVW81Eijf2R3iVkb4VQ0aeYdl40DXu69vNQvOWNC9IyXC8wBu6QQ-hVjV-fsDpJ3VuGFlGvoIoUG81dlMpQ9t_ZGw0zni1bVhPST-jxuH5jM_22ELQvcE/s1600/gableend.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="556" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1zpsf_7zo3Uqep7qGmA-0DaLVW81Eijf2R3iVkb4VQ0aeYdl40DXu69vNQvOWNC9IyXC8wBu6QQ-hVjV-fsDpJ3VuGFlGvoIoUG81dlMpQ9t_ZGw0zni1bVhPST-jxuH5jM_22ELQvcE/s640/gableend.jpg" width="460" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Maxwell Doig, <i>Gable End</i>, acrylic on canvas</span></td></tr>
</tbody></table>
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><o:p></o:p></span><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"> Doig
is also very much concerned with – and located in – place. Though he can travel
as far afield as Dungeness in Kent to paint the boats and extraordinary seaside
landscape there, most of his current work is concerned with the local landscape
around him in Yorkshire, and the buildings and allotments that characterise his
neighbourhood.<span style="color: #1a1a1a;"> </span>Doig sees himself as ‘reflective, inward
looking,’ a Romantic – and he enthusiastically acknowledges the power of the
local landscape upon him.<span style="color: #1a1a1a;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"> Seeing
Doig as a Romantic, we might link him also with William Blake, whose most
famous words come from his epic poem ‘Milton,’ better known as the lines to the
hymn ‘Jerusalem,’ put to music a century ago at the height of the Great War. If
Blake’s ‘dark satanic mills’ are to be interpreted as the new-fangled factories
of the urbanising industrial revolution, then Doig in Huddersfield lives right
among their decay. Whilst Blake worked at the beginning of the Romantic era,
here we find Doig at the end of it, painting and carefully recording de-industrial
decline and our gradual disconnection with the sublime.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"> ‘These
empty dwellings,’ he tells me, ‘they make people stop and look. My pictures
trigger memories – forgotten emotions, perhaps?’ They are places where people
have lived, loved, worked and sweated out their lives, be it on a factory
floor, in a boat or in the green fields of Yorkshire. Something remains,
remembered and yet half-forgotten. And Doig records – making the momentary immortal.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<!--EndFragment-->David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0tag:blogger.com,1999:blog-7075226537192406884.post-43934011703449495162017-06-12T10:39:00.000+01:002020-06-11T09:56:27.177+01:00Paul Nash masterpiece to be auctioned at Christie's<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX8Vpz6Dg9IhyWg9ItCiB5Zf2CcyO-7kNHj7qsqzjp30MR0FWq0BUZ_AM2MdbKs053I5DFX0MwH_jKaJFrxNOS2xcbZ34az7fBEF2GHRjJ5Civlqa35O_vMr-TvJN44tYoklHmWTJl9uc/s1600/65018.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: white;"><img border="0" data-original-height="420" data-original-width="600" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX8Vpz6Dg9IhyWg9ItCiB5Zf2CcyO-7kNHj7qsqzjp30MR0FWq0BUZ_AM2MdbKs053I5DFX0MwH_jKaJFrxNOS2xcbZ34az7fBEF2GHRjJ5Civlqa35O_vMr-TvJN44tYoklHmWTJl9uc/s640/65018.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Paul Nash, A Farm, Wytschaete (1917)</span></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 150%;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: white; font-family: "arial"; font-size: 11.0pt; line-height: 150%;"><br /></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="line-height: 150%;"><span style="color: white; font-family: "arial";"><span style="font-size: 11pt;">This work is to be auctioned at Christie's in London on 26 June 2017, estimate £250,000 to £300,000. I have </span><span style="font-size: 15px;">written</span><span style="font-size: 11pt;"> the following text for the catalogue.</span></span></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: white; font-family: "arial"; font-size: 11.0pt; line-height: 150%;"><br /></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="color: white; font-family: "arial"; font-size: 11.0pt; line-height: 150%;">As Tate Britain’s recent retrospective has confirmed, Paul Nash
was one of our most significant twentieth century artists: experimenter, seer,
surrealist, modernist. But it was his experiences in the Great War that made
him. Prior to August 1914 Nash had been an imaginative English watercolourist
with a penchant for poetry and trees: inspired by William Blake and Dante
Gabriel Rossetti, the recent dramas of Post-Impressionism, Futurism and
Vorticism had largely passed him by. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="color: white; font-family: "arial"; font-size: 11.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>A few months in
the Ypres Salient in the spring and winter of 1917 changed all that: as the
Tate Director John Rothenstein accurately observed in his seminal 1950s study, <i style="mso-bidi-font-style: normal;">Modern English Painters</i>, ‘What [Nash]
experienced in that place of desolation made him an artist as decisively as the
scenes of his boyhood by the River Stour made Constable an artist … There can
be little doubt that had he been destined to take his place among the
unnumbered thousands who died in the Ypres Salient he would have been
unremembered, but surviving the bitter desolation of the place immeasurably
deepened his perceptions.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 11.0pt;">[1]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="color: white; font-family: "arial"; font-size: 11.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>Having
volunteered with the Artists’ Rifles in September 1914, Nash was posted to the Western
Front as a junior infantry officer with the Hampshire Regiment in the early
months of 1917. ‘I have simply been as excited as a schoolboy,’ he wrote to his
wife, Margaret, though he would soon be reflecting on ‘the nightmare of the
trenches’.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 11.0pt;">[2]</span></span><!--[endif]--></span></span></a> Then,
one night in May, he fell into a concealed trench, broke a rib, and was
invalided home. It was a lucky accident that quite probably saved his life. A
few weeks later his battalion went ‘over the top’, and as Margaret recalled in
her memoir, ‘Paul’s own Company practically disappeared under an over-whelming
barrage’.<span class="MsoFootnoteReference"> <a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 11.0pt;">[3]</span></span><!--[endif]--></span></a></span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="color: white; font-family: "arial"; font-size: 11.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>Safely back in
London, Nash held a well-received exhibition of watercolours he had made in
France and Belgium. Its success led to his selection by the government as an
official war artist; he returned to Ypres in November 1917. There he got as
close to the action as he could: Margaret even records that some of his
drawings ‘actually had mud spattered upon them from nearby exploding shells,
which he at times worked in to help with the colour of the drawing’.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 11.0pt;">[4]</span></span><!--[endif]--></span></span></a>
Witnessing the last stages of the Battle of Paschaendale, what Nash saw
appalled him. ‘I am no longer an artist interested & curious,’ he wrote in
a now famous letter to his wife: ‘I am a messenger who will bring back word
from men fighting to those who want the war to last for ever. Feeble,
inarticulate will be my message but it will have a bitter truth and may it burn
their lousy souls.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 11.0pt;">[5]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="color: white; font-family: "arial"; font-size: 11.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>Fifty-six of
these ‘messages’ were exhibited as ‘Void of War’ at the Leicester Galleries in
May 1918. They included <i style="mso-bidi-font-style: normal;">The Farm, Wytschaete</i>,
as well as numerous other views of destruction on the Western Front now in
significant national collections, among them <i style="mso-bidi-font-style: normal;">Broken Trees, Wytschaete</i> (Victoria and Albert Museum), <i style="mso-bidi-font-style: normal;">Landscape, Year of Our Lord 1917</i>
(National Gallery of Canada) and the iconic oil painting <i style="mso-bidi-font-style: normal;">We Are Making a New World</i> (Imperial War Museum). ‘What you see are
chiefly the actual sketches done on the spot, on brown paper for the sake of
rapidity,’ the author Arnold Bennett wrote in an introductory note to the
accompanying catalogue. ‘The original impression may have been intensified
afterwards by a method in which body-colour, chalk, pastel, and ink are all
employed; but the original impression remains, and it is authentic.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 11.0pt;">[6]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="color: white; font-family: "arial"; font-size: 11.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>These watercolours
and drawings were, as Bennett affirmed, ‘first-hand documents,’ and they would
prove to be among the most powerful works produced by any artist, anywhere,
over the course of the whole war. In the opinion of the American poet Ezra
Pound, writing in <i style="mso-bidi-font-style: normal;">New Age</i> in July
1918, ‘Void of War’ was ‘the best show of war art … that we have had.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 11.0pt;">[7]</span></span><!--[endif]--></span></span></a>
They made Nash’s name.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="color: white; font-family: "arial"; font-size: 11.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>‘I know of no
works of art made by any artist working there who saw the splendours and
miseries of the greatest of all theatres of war so grandly,’ John Rothenstein
wrote four decades later. ‘Out of infinite horror [Nash] distilled a new
poetry. The best of them will take their place among the finest imaginative
works of our time …’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 11.0pt;">[8]</span></span><!--[endif]--></span></span></a> Without
a shadow of doubt <i style="mso-bidi-font-style: normal;">The Farm, Wytschaete</i>,
is among the very best of them. Nash had been warned that he could not record
dead British soldiers: instead, the landscape here becomes a metaphor for the
horrors that he witnessed: the red gaping wound in the earth and the
dismembered trees articulate what it was, perhaps, impossible to actually
paint. <o:p></o:p></span></div>
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<span lang="EN-US" style="color: white; font-family: "arial"; font-size: 11.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>The wealthy
artist Charles Maresco Pearce (1874-1964) purchased<i style="mso-bidi-font-style: normal;"> The Farm, Wytschaete</i> directly from the exhibition. A member of the
New English Art Club and (from 1929) the London Group, Pearce was a great collector,
owning works by (among others) Édouard Vuillard, Pierre Bonnard, Paul Gauguin
and Walter Sickert. Gauguin’s <i style="mso-bidi-font-style: normal;">Harvest: Le
Pouldu</i> (1890), now in the Tate Gallery, was once part of his collection.<o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: white; font-family: "arial"; font-size: 11.0pt; line-height: 150%;">David Boyd Haycock<o:p></o:p></span></b></div>
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<span style="color: white;"><a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">[1]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">
John Rothenstein, <i style="mso-bidi-font-style: normal;">Modern English
Painters, Sickert to Moore</i> (London: Eyre & Spotiswood, 1957), p. 343.<o:p></o:p></span></span></div>
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<span style="color: white;"><a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">[2]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">
Paul Nash to Margaret Nash 21 March 1917 and 26 April 1917, in <i style="mso-bidi-font-style: normal;">Paul Nash Outline: An Autobiography, a New
Edition</i> edited by David Boyd Haycock (London: Lund Humphries, 2017), pp.
168 and 174<o:p></o:p></span></span></div>
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<span style="color: white;"><a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">[3]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">
Ibid. p. 194.<o:p></o:p></span></span></div>
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<span style="color: white;"><a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">[4]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">
Ibid. p. 195.<o:p></o:p></span></span></div>
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<span style="color: white;"><a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">[5]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">
Paul Nash to Margaret Nash 13 November 1917, ibid. p. 187.<o:p></o:p></span></span></div>
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<span style="color: white;"><a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">[6]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">
‘<span style="color: #131809;">Introductory note’ by Arnold Bennett to <i style="mso-bidi-font-style: normal;">‘Void of War’: An Exhibition of Pictures by
Lieut. Paul Nash</i> (London: Leicester Galleries, 1918).<o:p></o:p></span></span></span></div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="color: white;"><a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">[7]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">
Ezra Pound (writing under the pseudonym B.H. Dias), <i style="mso-bidi-font-style: normal;">New Age</i>, 18 July 1918.<o:p></o:p></span></span></div>
</div>
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<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"><span style="color: white; mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;">[8]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 10.0pt;"><span style="color: white;">
John Rothenstein, op cit., p. 347.</span><o:p></o:p></span></div>
</div>
</div>
David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com08 King St, St. James's, London SW1Y 6QT, UK51.506573 -0.13736825.984538500000003 -41.445962 77.0286075 41.171226tag:blogger.com,1999:blog-7075226537192406884.post-2637554987777516712017-03-22T12:05:00.001+00:002020-06-11T09:55:48.174+01:00British Watercolours at the British Museum<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">The Official War Artists scheme that
was launched by the British government in 1916 would go on to commission work
from some of the most significant artists of the century: William Orpen,
Augustus John, Percy Wyndham Lewis and John Singer Sargent from the older
generation, and from among ‘les jeunes’ (as Roger Fry dubbed them), William
Roberts, Stanley Spencer, C.R.W. Nevinson, David Bomberg and Paul Nash, to name
just a few. An early idea was that a great ‘War Museum’ would be purpose built
to house this work: Charles Holden’s surviving sketch suggests an immense
temple that would have been filled with paintings and sculptures, with
Sargent’s <i style="mso-bidi-font-style: normal;">Gassed</i> and Nash’s <i style="mso-bidi-font-style: normal;">Menin Road</i> as two of its centrepieces.
Hardly surprisingly the government did not have the money to invest in such a
grand project after almost bankrupting itself in the defeat of Germany – it was
impressive enough that it was willing to spare thousands of pounds and release
young officers like Nash from active service to paint pictures. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">But wouldn’t it have been a wonderful
centenary project to have built that temple of war art, instead of leaving
those paintings to languish in upstairs rooms at the back of the Imperial War
Museum? Perhaps we will be able to afford it in time for the centenary of the
Second World War instead – when the government again invested precious time and
money in the production of art.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Another grand project close to my
heart is a gallery that would celebrate another great British achievement – the
humble watercolour, rightly or wrongly so widely and often acknowledged as a
particularly British medium. Right now there is a step in that direction at the
British Museum: ‘Places of the Mind: British Watercolour Landscapes,
1850-1950,’ curated by Kim Sloan. When I visited, the galleries – also located
slightly off the beaten track at the back and upstairs in the BM – were pretty
crowded, and Dr Sloan told me that the show was enjoying a high footfall. This
deserved success clearly illustrates the public appetite for this medium and
subject matter. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_ujJCxCDrperyVLjYulW7ZFgUE6Sk5BsKEj7vHfzIOE_TuOlINy2d6yI89_F_xFgpwqkaPq1yHgCXnaRK_KJf_QfY7zJfNPKIfneRBhWFR1iT886yhD25lB8AKbl6LZLxVYt8FZKsq2k/s1600/Nash%252C+The+WAnderer+%25281911%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_ujJCxCDrperyVLjYulW7ZFgUE6Sk5BsKEj7vHfzIOE_TuOlINy2d6yI89_F_xFgpwqkaPq1yHgCXnaRK_KJf_QfY7zJfNPKIfneRBhWFR1iT886yhD25lB8AKbl6LZLxVYt8FZKsq2k/s640/Nash%252C+The+WAnderer+%25281911%2529.jpg" width="536" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br />Paul Nash, <i>The Wanderer, or Path through Trees</i> (1911) British Museum</span></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><o:p> </o:p></span><span style="font-family: "arial"; font-size: 9pt;">With 125 works in watercolour, pastel
and pen and ink celebrating these media in the hundred years following Turner’s
death, Paul Nash’s hauntingly enigmatic 1911 painting </span><i style="font-family: Arial; font-size: 9pt;">The Wanderer, or, Path through Trees</i><span style="font-family: "arial"; font-size: 9pt;">, is the opening work. It sets
the tone for the whole show, and graces both the poster and the accompanying
catalogue. Nash was a master at this type of work – you don’t have to look too
closely at his pictures to discover how what is ostensibly a watercolour can
often actually also include chalk or pen-and-ink highlights. The many other
artists include James Whistler, Graham Sutherland, Ambrose McEvoy, Hercules
Brabazon, Philip Wilson Steer, Henry Moore, Peter Lanyon, Ben Nicholson and
John Craxton (from among my more modern favourites) as well a whole gamut of
earlier Victorian practitioners: John William North, Samuel Palmer, Edward
Lear, George Clausen, Dante Gabriel Rossetti, Helen Allingham – all of them
drawn from the Museum’s extensive Prints and Drawing Room collections. Also
squeezed in are a couple of works by Francis Towne and John Sell Cotman which,
whilst breaking the strict chronology of the exhibition, draw it further back
into the late eighteenth and early nineteenth centuries. They are worthy
historical inclusions: Cotman’s </span><i style="font-family: Arial; font-size: 9pt;">Greta
Bridge</i><span style="font-family: "arial"; font-size: 9pt;">, for example, was a favourite of Eric Ravilious’s, who is also represented
here with the very early watercolour, </span><i style="font-family: Arial; font-size: 9pt;">Wannock
Dew Pond</i><span style="font-family: "arial"; font-size: 9pt;">, so unlike the works of the 1930s that would make him famous.</span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw3Dqa5Ww-7NsRL7Kj7fsjhoOXbDp_zXjzlOhLH5jm4aCiL1sVan835sX_-o_eK7yJSEjCeHMAMs2LhhCQ70xB8SDLJ4azEJ3n5H6cwW_ARJa3iL2nIDwoUKML9FSdhsiApC1GjY4P9pQ/s1600/greta-bridge-by-john-sell-cotman1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw3Dqa5Ww-7NsRL7Kj7fsjhoOXbDp_zXjzlOhLH5jm4aCiL1sVan835sX_-o_eK7yJSEjCeHMAMs2LhhCQ70xB8SDLJ4azEJ3n5H6cwW_ARJa3iL2nIDwoUKML9FSdhsiApC1GjY4P9pQ/s400/greta-bridge-by-john-sell-cotman1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br />John Sell Cotman, <i>Greta Bridge</i> (c.1806-7), British Museum</span></td></tr>
</tbody></table>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">It’s a great show, and one that does
hopefully mark another little step on the road to a permanent gallery,
somewhere in England, devoted entirely to the medium and its long and
distinguished history.</span></div>
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David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0Great Russell St, Bloomsbury, London WC1B 3DG, UK51.5194133 -0.126956625.997378799999996 -41.4355506 77.0414478 41.1816374tag:blogger.com,1999:blog-7075226537192406884.post-82167293249078860012016-02-03T12:14:00.002+00:002020-06-11T09:52:53.802+01:00Enchanted Dreams: The Pre-Raphaelite Art of E.R. Hughes, Birmingham Museum & Art Gallery<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Spending one’s days studying the
avant-garde of the early twentieth century, it’s sometimes none too easy to stop and
think about what those artists were actually reacting against. What were most
gallery-goers actually looking at and admiring when David Bomberg, for example,
was painting his extraordinary abstracts in the years immediately prior to the
First World War? </span><span style="font-family: "arial"; font-size: 9pt; line-height: 150%;">Edward Robert Hughes – Ted Hughes to
his friends – was one of them: his ‘blue phantasies’ at the Royal Watercolour
Society’s annual summer shows were among the crowd pleasers – curious visions
of fairyland and mystical interpretations of Victorian poems. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh05zU0vy_wRDEBieRGk4JeLxvTHIs2viuHp9Ukefp25ufkYQMV549_Ujym2-kg3iksA2975M6CcQxNchacEp32hTvefrd5J4rT7Vl83zUpxvjx1gtPgoQprmjLGrSt2ioC0F95sQdeTNM/s1600/_86146211_tumblr_m9blw9velz1qk0go1o1_.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh05zU0vy_wRDEBieRGk4JeLxvTHIs2viuHp9Ukefp25ufkYQMV549_Ujym2-kg3iksA2975M6CcQxNchacEp32hTvefrd5J4rT7Vl83zUpxvjx1gtPgoQprmjLGrSt2ioC0F95sQdeTNM/s400/_86146211_tumblr_m9blw9velz1qk0go1o1_.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial"; font-size: 12px; line-height: 18px;">E.R. Hughes, <i>Oh, What’s That in the Hollow?</i> (1893)</span></td></tr>
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<span style="font-family: "arial"; font-size: 9pt; line-height: 150%;">Hughes was born
to be an artist. His uncle was the painter Arthur Hughes, a painter with closes
link to the Pre-Raphaelite Brotherhood in its earliest days, who numbered Dante
Gabriel Rossetti, William Holman Hunt and John Ruskin among his friends. So,
literally from the cradle, Hughes lived among artists and critics. He entered
the Royal Academy Schools aged 16, and was something of a star pupil. Though he
worked in oil, it was in watercolour that he would make his name. The early
work is very different in style and technique from the later works – though it
can be equally haunting. ‘Mrs Peveril Turnbull and her daughter Monica’ feels
like an illustration to an M.R. James short story, even before you discover
that Monica and her sister were later to die together in a house fire.</span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">This show lines up many other artists
along side Hughes, but he often comes off looking second best to the likes of Henri
Fantin-Latour or Fernand Khnopff (sadly in reproduction only). Hughes is
certainly the lesser painter, but nonetheless a work such as ‘Oh, What’s That
in the Hollow? (1893) and ‘Night With her Train of Stars’, are really something
special. I can’t imagine the Bloomsbury Group caring for any of this – and the
Futurists certainly did not when they visited London: it was exactly this sort
of painting that seemed to the Italians to say nothing of the ‘Workshop of the World’, let alone of London, the Futurist city 'par excellence'. Indeed, they thought paintings like this ought to be carried out into Trafalgar Square and burnt, making way for a modern art of a modern world. But Hughes's paintings carry me back to the days of my youth when I first discovered the delights of
the Pre-Raphaelites. And I know - unlikely as it may seem - that it was just this sort of painting that inspired the likes of Augustus John, Paul Nash and Stanley Spencer and helped set them out on the road to
becoming artists. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEQxjd1XgWJDiWcTLn_EfUOIr31wXj7UaKoMfP9bkMsiXvPlAa2U_OUP045vkrFusDBbl079JAIc9GsSSwkJpUFDiVBx-O_m-76TJNUXHuwWFx1rquW12HhHuq0pZfFvgOXa3CYD6vPK0/s1600/ER+Hughes+-+Night+with+her+Train+of+Stars.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="379" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEQxjd1XgWJDiWcTLn_EfUOIr31wXj7UaKoMfP9bkMsiXvPlAa2U_OUP045vkrFusDBbl079JAIc9GsSSwkJpUFDiVBx-O_m-76TJNUXHuwWFx1rquW12HhHuq0pZfFvgOXa3CYD6vPK0/s640/ER+Hughes+-+Night+with+her+Train+of+Stars.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial"; font-size: 12px; line-height: 18px;">E.R. Hughes, </span><span style="font-family: "arial"; font-size: 12px; line-height: 18px;"><i>Night With her Train of Stars and Her Great Gift of Sleep </i>(1912)</span></td></tr>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">And besides, in a way there's nothing wrong with fairyland, when it's taking you away from the miseries of what industrial Britain must have been like. It is quite easy to see the appeal of these medieval fantasies for a smoke-filled world, stalked by slow or sudden death and opium dreams. (Hughes' fiancee died a lingering, youthful death from tuberculosis, such a killer in that era, even among the wealthier classes; and night with her stars in tow drops poppy petals - and does the baby in her arm sleep the sleep of night, or that of death?.) The best of these Victorian artists are always worth revisiting, and even as a critic of the avant grade, I can linger profitably in a world at a cross roads, where the nineteenth century meets the twentieth.</span></div>
David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0Chamberlain Square, Birmingham B3 3DH, UK52.480111 -1.90346226.9580765 -43.212056 78.0021455 39.405132tag:blogger.com,1999:blog-7075226537192406884.post-47470655055880250482016-01-29T12:35:00.000+00:002020-06-11T09:54:01.013+01:00David Jones at Pallant House, ChichesterWhat a genius was David Jones! And what an epoch in the history of British art was the twentieth century. Underappreciated, perhaps - or perhaps now at last starting really to revel in the recognition it deserves? From the recent success of the Ravilious exhibition at Dulwich Picture Gallery in the summer of 2015, and thinking back to Edward Burra at Pallant House Gallery a year or two ago, or Graham Sutherland at the Museum of Art, Oxford - there have been some wonderful shows in recent years, revealing so much that was exciting about painting and drawing in this country - especially through the early and middle decades of the twentieth century. This no doubt was a combination of the reaction to Modernism, combined with the response to two devastating world wars - as well as the intervening crises of economic depression and political turmoil, all combining to produce something sublimely electric in the world of British art. (And add to this, I would suggest, the longer tradition of British art to look back at and draw upon - the Pre-Raphaelites, Samuel Palmer and William Blake, J.M.W. Turner and Constable, when art in England started to rediscover itself after the long invasion of more foreign influences that started somewhere around the time of Charles I and Anthony Van Dyck. When I go to the National Portrait Gallery or Tate Britain it's always among the Tudors that I want to linger - it all seems to start going wrong after about 1600 - the time when the continent and the High Renaissance starts to overwhelm the native, more northern European tradition; Holbein and Marcus Gheeraerts seem more cut from the same English cloth as two of my other favourite portraitists, Robert Peake and Isaac Oliver.)<br />
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This is the largest collection of David Jones work that I've seen all together in one place; an artist whose work I think I first grew to love on seeing it at Kettle's Yard in Cambridge two decades ago. Though Jones was born in Kent his heritage - as his name suggests - was Welsh, with his father originating from Flintshire. Jones studied at the Camberwell Art School in the years immediately prior to the Great War, and in 1915 enlisted with the Welch Fusiliers. Wounded on the Somme in July 1916, he finally escaped the front line in February 1918 when he came down with trench fever. Following the war he converted to Roman Catholicism, and joined Eric Gill's community of artists at Ditchling, in East Sussex, and then a Capel-y-ffin, in the Black Mountains.<br />
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Jones's oeuvre includes watercolours, wood engraving, letter work and poetry. He was poor; he struggled; he read and wrote; though engaged for a while to one of Gill's daughters, he never married; he suffered breakdowns; he made great art, and he won some of the recognition he deserved: in 1928 Ben Nicholson invited him to join the Seven & Five Society, and he exhibited alongside Henry Moore, John Piper, Kit Wood and Barbara Hepworth. In 1955 he was appointed CBE, and he lived on till 1974.<br />
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Pallant House's wonderful exhibition showcases Jones' work from a very early, magnificent drawing of a lion, made aged only seven, through to the late mythical masterworks, such as this one:<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg10U-PDJ67ha_CRTIcnJ7hJ_jVFY0Wd5Ujx_OqGhfadKgrcDEGX1Ucf8K4g5VySCSvOEdK7pTU4BYllupQswPWkjPUTVB2d_V-kQvd7Qxy8y4vz4KbDYnJWHaeCDOfTZQ9bsbOCdZPE3E/s1600/TrystanFinalLarge.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg10U-PDJ67ha_CRTIcnJ7hJ_jVFY0Wd5Ujx_OqGhfadKgrcDEGX1Ucf8K4g5VySCSvOEdK7pTU4BYllupQswPWkjPUTVB2d_V-kQvd7Qxy8y4vz4KbDYnJWHaeCDOfTZQ9bsbOCdZPE3E/s640/TrystanFinalLarge.jpg" width="467" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Jones, Tristan and Isolde.</td></tr>
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No reproduction on the web can do it justice - this is the sort of picture you want to be able to take home with you, to explore in all its infinite intricacies. Only a visit in the flesh will do, to an exhibition that really brings to life one of the less recognised greats of modern British art. I really love what Pallant House is achieving with its programme of exhibitions. (A great cafe there, too - and wonderfully helpful arts educators. If only they could move it all to Oxford, please?)<br />
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Oh, and I should add they're also showing a number of rediscovered works by Evelyn Dunbar. Everyone I've met who's been to Pallant House seems to have preferred one over the other; I'm no exception: Dunbar didn't move me at all, I'm afraid. I have always rather liked the Neo-Romanticism of <i>A Land Girl and the Bail Bull</i> at Tate Britain, but that was all I'd ever seen (or at least remembered); nothing else I saw lived up to that little (or should I say large) little masterpiece. It was all just a little too <i>brown</i> for my liking.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJn_Zhqp9Qt4CozMI-NqojVgHm-2v90G93iMWHIpcJMKdqXlrHnnnkREmWHUK7SfYalruoBGUkkGQHHa5bYSXIxXQCIw3Vfu7i6hy7MBGs8weoGJjLbYU-M8aU5pCM5ayeRHbQkMVCflI/s1600/tate_tate_n05688_10_large.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJn_Zhqp9Qt4CozMI-NqojVgHm-2v90G93iMWHIpcJMKdqXlrHnnnkREmWHUK7SfYalruoBGUkkGQHHa5bYSXIxXQCIw3Vfu7i6hy7MBGs8weoGJjLbYU-M8aU5pCM5ayeRHbQkMVCflI/s640/tate_tate_n05688_10_large.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Evelyn Dunbar, <i>A Land Girl and the Bail Bull </i>(1945), Tate</span></td></tr>
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<br />David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0tag:blogger.com,1999:blog-7075226537192406884.post-87290407270789760522015-08-26T11:07:00.001+01:002016-02-03T14:32:38.841+00:00The Modern English Watercolour<div class="MsoNormal" style="line-height: 150%;">
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<span style="font-family: "arial"; font-size: 9pt; line-height: 150%;">This essay was published in <i>Apollo: The Fine Art Magazine </i>in October 2014.</span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">‘I find [oil] painting so appealing
that I’ll have to make a great effort not to paint <i style="mso-bidi-font-style: normal;">all the time</i>,’ Vincent van Gogh told a friend in 1882. ‘It’s rather
more manly than watercolours, and has more poetry to it.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[1]</span></span><!--[endif]--></span></span></a>
It is perhaps that first phrase of Van Gogh’s that best captures why
watercolours have not received quite the attention they deserve in the story of
Modernism. The watercolour, it might seem, is simply too feminine for the
modern artist – too redolent of aristocratic ladies, of refined Georgian or
Victorian gentlemen, or of enthusiastic amateurs and Sunday artists.<o:p></o:p></span><br />
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Vincent Van Gogh, <i>The Oise at Auvers</i> (1890), Tate Gallery, London</div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">When in
2011 Tate Britain staged ‘Watercolour’, its first ever exhibition devoted
solely to the medium, it was felt by many critics that this largely
chronological show lost direction once it reached the Modern era. ‘As the show moves into the twentieth century,’</span>
Richard Dorment suggested in <i style="mso-bidi-font-style: normal;">The</i> <i style="mso-bidi-font-style: normal;">Daily Telegraph</i>
‘it hurtles into chaos. It is an inarguable fact that the great tradition that
began in the eighteenth century died out at the beginning of the twentieth. Few
major artists painted in watercolour and those that did used it only
occasionally.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: #1e1e1e; font-family: "arial"; font-size: 9.0pt;">[2]</span></span><!--[endif]--></span></span></a>
This ‘inarguable fact’ reveals a common misconception. <span style="line-height: 150%; text-indent: 36pt;">There is of
course a long and distinguished history of the watercolour in British art, and
it is widely considered a peculiarly British medium whose golden age began in
the eighteenth century, peaked in the mid nineteenth century and dwindled
towards its end. An article in </span><i style="mso-bidi-font-style: normal;">The
Burlington Magazine</i><span style="line-height: 150%; text-indent: 36pt;"> in 1905 complained of ‘the failure of our water-colour
tradition’, lamenting, ‘[h]ow many works of the so-called English School of
Water-Colour could be hung by the side of an old Japanese print without looking
either weak or garish?’</span><a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[3]</span></span></span></span></a><span style="line-height: 150%; text-indent: 36pt;">
Yet watercolour did play a significant role in the Modern movement of the early
twentieth century, both in Britain and abroad. That history is worth closer
examination.</span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Despite
his criticism of its ‘unmanly’ aspect, Van Gogh was a keen watercolourist. ‘How
marvelous watercolour is for expressing space and airiness,’ he told his
brother rapturously in 1881, ‘allowing the figure to be part of the atmosphere
and life to enter it.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn4" name="_ednref4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[4]</span></span><!--[endif]--></span></span></a>
He continued to use watercolour (often in combination with pen and ink, oil or
gouache) intermittently until his death in 1890, often with remarkable results.
Another godfather of
Modernism who used watercolour both to develop his ideas and as an end in its self
was Paul Cézanne. ‘It is Cézanne who was the precursor and illuminator of
Cubism,’ wrote the French modernist Robert Delaunay, who saw revelatory exhibitions
of the recently deceased artist’s watercolours in Paris in 1909 and 1910.
‘Cézanne’s watercolours: the investigation of coloured planes … or rather
luminous planes which destroy the subject.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn5" name="_ednref5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[5]</span></span><!--[endif]--></span></span></a> <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Modernism
was thus not born free of the watercolour, and works on paper that incorporated
watercolour by Van Gogh and Cézanne were included in Roger Fry’s category
defining Post-Impressionist exhibitions of 1910 and 1912. It is perhaps not
surprising that it is to this same date that the critic and curator Frank
Rutter placed the ‘increasingly conspicuous’ appearance in London exhibitions
of ’watercolour drawings, based upon the definite line and decorative
composition of the early topographical draughtsmen of Great Britain’.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn6" name="_ednref6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[6]</span></span><!--[endif]--></span></span></a>
Rutter was a leading champion of the Modern movement in Britain. In 1907, with
the support of friends in the Fitzroy Street Group, he formed the Allied
Artists' Association with a view to bringing artists working in France to the
attention of British audiences, and in 1913 he curated an influential Post-Impressionist
and Futurist exhibition at the Doré Gallery in London’s Bond Street. The
Italian Futurists inspired the foundation of the British modernist movement, Vorticism.
Like the Futurists, the Vorticists advocated a break with the past and a modern
art that embraced the industrial, the urban, the mechanical and the abstract.
Yet even they did not eschew watercolour. Percy Wyndham Lewis, the movement’s
founder, and Edward Wadsworth, one of its more talented artists, produced
numerous works in what might have been taken as a rather old-fashioned medium
for such a forward-looking movement.<b style="mso-bidi-font-weight: normal;"> </b>At the same time, many other significant European Modernists –
Raoul Dufy, Paul Klee, Wassily Kandinsky, Egon Schiele – were keen and adept watercolorists.<o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZdHZAZ6voixuGj2Bd5ffD-FfrgbQlDkKuPsrmVYOtfPmiGURy6zgojw3WZMLrpnRkGBZradowIOgrEsZr8QcgpRefZF9_-EhnrYEn2sz2APvqfvBdRtlYdnldLtw2qjS09wxbBgTMhsc/s1600/Lewis%252C+Composition+%25281913%2529%252C+Tate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZdHZAZ6voixuGj2Bd5ffD-FfrgbQlDkKuPsrmVYOtfPmiGURy6zgojw3WZMLrpnRkGBZradowIOgrEsZr8QcgpRefZF9_-EhnrYEn2sz2APvqfvBdRtlYdnldLtw2qjS09wxbBgTMhsc/s400/Lewis%252C+Composition+%25281913%2529%252C+Tate.jpg" width="312" /></a></div>
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Percy Wyndham Lewis, <i>Composition</i> (1913), Tate Gllery, London</div>
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span>
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">When Paul
Nash, who would become one of Britain’s leading figures of the avant-garde, arrived
at the Slade School of Art in 1910 he was happy to advance his career solely as
a watercolourist. His remarkable paintings undertaken as an Official War Artist
on the Ypres Salient in November and December 1917 were all on paper. According
to his wife, ‘Some of these water colours … actually had mud spattered upon
them from nearby exploding shells, which he at times worked in to help with the
colour of the drawing.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn7" name="_ednref7" style="mso-endnote-id: edn7;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[7]</span></span><!--[endif]--></span></span></a>
The grandiosity of the subject did not defy the medium: they were drawings made
in a frenzy of passion, images that would endure as among the most sublime, terrifying
and beautiful representations ever made of the First World War. They were also
very modern, for in the trenches Nash had embraced the techniques (if not the
tenets) of Vorticism. ‘I know of no works of art made by any artist working
there who saw the splendours and miseries of the greatest of all theatres of
war so grandly’, wrote John Rothenstein in 1955. ‘Out of infinite horror [Nash]
distilled a new poetry. The best of them will take their place among the finest
imaginative works of our time …’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn8" name="_ednref8" style="mso-endnote-id: edn8;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[8]</span></span><!--[endif]--></span></span></a> <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Of
course, the situation in which Nash worked demanded a portable medium that
could be used rapidly under fire: other Official War Artists, including William
Orpen and John Singer Sargent, worked in watercolour at the Front; they could
hardly have carried easels on to the battlefield. And in due course Nash realized
that the immensity of his subject – as well as the need for permanent,
large-scale records – almost demanded that he advance into oil painting; yet it
was only in early 1918, as he approached his twenty-ninth birthday, that he
completed his first work in the medium. As he told his friend Gordon Bottomley,
these first attempts had been ‘a complete experiment you know – a piece of
towering audacity I suppose as I had never painted before ...’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn9" name="_ednref9" style="mso-endnote-id: edn9;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[9]</span></span><!--[endif]--></span></span></a>
Almost inevitably, one of his first and most famous oil paintings, <i style="mso-bidi-font-style: normal;">We Are Making a New World</i> (1918) was a
direct interpretation of an original drawing, whilst his epic canvas, <i style="mso-bidi-font-style: normal;">The Menin Road</i>, now in the Imperial War
Museum, was rendered first in watercolour.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">By 1926 Frank
Rutter was suggesting in his book <i style="mso-bidi-font-style: normal;">Evolution
in Modern Art</i> that any frequenter of art exhibitions in London and Paris
over the past thirty years,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">must have
observed that the greatest difference between the pictures of the past and of
the present is that there is less and less of the ‘foggy’ Impressionist type of
pictured, in which ‘atmosphere’ was the goal, and more and more of a clear,
clean-hewn type of picture in which the accent is laid on design. This
tendency, visible in pictures of all descriptions in Paris as in London, has
become most pronounced in the modern water-colour. From it has arisen a new
school of water-colour, which is perhaps the most rich in promise of any
contemporary British movement.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn10" name="_ednref10" style="mso-endnote-id: edn10;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[10]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Rutter considered one of the most
exciting manifestations of this new contemporary movement was the recent
establishment of the Modern English Watercolour Society. The founders, who
included Paul Nash and his brother John, Edward Wadsworth, Robert Bevan,
Charles Ginner, Lucien Pissarro, Ethelbert White and Randolph Schwabe, all felt
that their watercolours were not receiving a fair chance of being properly seen
at mixed shows. As both the Royal Watercolour Society and the Royal Institute
of Painters in Water Colours already offered exhibition opportunities
exclusively devoted to the medium, these artists clearly wished to distinguish
themselves from their fellow practitioners, perhaps most obviously in their use
of the word ‘Modern’. ‘The quality of the work shown justifies the formation of
the new society,’<i style="mso-bidi-font-style: normal;"> The Burlington Magazine</i>
observed in a brief notice of Nash and his colleagues’ first exhibition in May
1923, ‘and it is a great comfort to be able to study a moderate number of good
drawings by themselves.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn11" name="_ednref11" style="mso-endnote-id: edn11;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[11]</span></span><!--[endif]--></span></span></a>
<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTs1SdBZn09JpOSbJdkwhPFdtm2IoFPWqTirvLkTrciZPghdzthCEZeoOaq__Y5xKYKX77mba6QQmzWVh_yWt2TQ5QyW6x372xSAbccMLu299h4q4sYjtVGlQYIoH5U-7gRf7Acpx80IY/s1600/Nash%252C+Paul+-+The+Tench+Pond+in+a+gale+%25281921-2%2529%252C+Tate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTs1SdBZn09JpOSbJdkwhPFdtm2IoFPWqTirvLkTrciZPghdzthCEZeoOaq__Y5xKYKX77mba6QQmzWVh_yWt2TQ5QyW6x372xSAbccMLu299h4q4sYjtVGlQYIoH5U-7gRf7Acpx80IY/s400/Nash%252C+Paul+-+The+Tench+Pond+in+a+gale+%25281921-2%2529%252C+Tate.jpg" width="280" /></a></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Paul Nash, <i>The Tench Pond in a Gale </i>(1921-22), Tate Gallery, London</span></div>
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span>
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span>
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">For the
next five or six years the Modern English Watercolour Society held exhibitions,
with catalogues prefaced by Rutter. The modern watercolour was also championed
by organisations such as the Contemporary Art Society, which acquired Paul Nash’s
watercolour <i style="mso-bidi-font-style: normal;">Tench Pond in a Gale</i>
(1921-2) and presented it to
the Tate Gallery in 1924. There it would be an important influence on young
artists such as Nash’s pupil at the Royal College of Art, Eric Ravilious.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn12" name="_ednref12" style="mso-endnote-id: edn12;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[12]</span></span><!--[endif]--></span></span></a>
Ravilious would be one of the chief artists from the younger generation to
carry forward the English school of watercolours, but other significant practitioners
would include John Piper, Edward Burra, David Jones, Henry Moore, Barbara
Hepworth, Graham Sutherland, John Tunnard, John Minton and Keith Vaughan. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">As well
as exhibiting with the Modern English Watercolour Society, Nash contributed
works to various other group exhibitions devoted exclusively to watercolours,
and he held a number of solo shows in this medium. From 1918 until his death in
1946 he continued to paint both in watercolour and oils. He was actually
working on a watercolour on the day of his death, and his late works in the
medium reveal a more fluid handling and the possibilities of exciting new
avenues. Though his works
in oil are his most well known today, it would be wrong to suggest that they
eclipsed his watercolours in the eyes of contemporaries. In 1929 the prominent
critic R.H. Wilenski called Nash ‘the John Sell Cotman of to-day’ – putting him
on a par with another artist who painted in both media (though Cotman is more
famous today for his watercolours).<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn13" name="_ednref13" style="mso-endnote-id: edn13;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[13]</span></span><!--[endif]--></span></span></a>
A solo exhibition of Nash’s watercolours held in London in 1932 was
particularly successful: ‘Certainly Mr. Paul Nash is one of our most
interesting artists,’<i style="mso-bidi-font-style: normal;"> The Times</i>
observed, ‘particularly when … he works in water-colour.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn14" name="_ednref14" style="mso-endnote-id: edn14;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[14]</span></span><!--[endif]--></span></span></a>
An exhibition of sixty new watercolours three years later elicited the response
in the same newspaper that ‘water-colour seems more apt for his purposes than
oil, in which he sometimes gives the impression of subjecting the fatter medium
to the restrictions of fresco.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn15" name="_ednref15" style="mso-endnote-id: edn15;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[15]</span></span><!--[endif]--></span></span></a>
<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Nevertheless,
many admirers today of Nash’s most famous works such as <i style="mso-bidi-font-style: normal;">Totes Meer</i> or <i style="mso-bidi-font-style: normal;">We Are Making a
New World</i> may not be aware that he painted in watercolour at all. Though I
was sixteen when I first discovered his work, it was not until I was in my
thirties that I realized the full extent of his work as a watercolorist. Partly
this was (and remains) the fault of the public museums and galleries that hold
his work: put simply, with the exception of retrospectives and special
exhibitions, his works on paper are so rarely hung. Tate Britain’s 2013
rehanging of its collection in chronological order was well-received, but was
almost entirely devoted to oil paintings, as if works on paper did not play a
significant role in that history. The extensive recent rebuilding of the
Ashmolean Museum in Oxford did not incorporate a space devoted to its
extraordinary collection of works on paper; and despite the supposed
significance of the ‘English School of Watercolour’, there is still no permanent
venue where this school can be studied in its entirety.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">This criticism
is not exclusive to the Tate or the Ashmolean, and attention might be drawn to
the Fitzwilliam Museum in Cambridge, or even the Victoria and Albert Museum. Of
course, this absence is partly due to the nature of the medium itself:
watercolours simply cannot be exposed to light for long periods of time, a
factor that has always (literally) diminished their public exposure, and which
has also played a significant part in their ongoing under appreciation. These collections
<i style="mso-bidi-font-style: normal;">are</i>, however, available to be seen:
all the aforementioned institutions have excellent Prints and Drawings Rooms
open to the public, offering the most intimate opportunity to view almost any
of their works at first hand.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Yet by removing
their works on paper to the private sphere, the average visitor or tourist is
deprived of easily seeing these often-extraordinary collections, and may spend
a lifetime unaware of the place or significance of the watercolour drawing in
the history of art. This limitation could be alleviated by dedicated exhibition
spaces with a rotating display taken from the permanent collection. To the best
of my knowledge, the only British institutions offering such spaces are the
British Museum and Tate Britain (which has rooms devoted to works on paper by
Turner and Blake, as well as the recent welcome addition of a large space
devoted to displaying material from their archive collection). Perversely,
given that there are no issues of conservation or additional cost, the more
general art historical publications tend to reproduce the (more famous) oil
works at the expense of works on paper, thus perpetuating the art historical
imbalance. A look at any general book on Cézanne will confirm this.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">When Paul
Nash neared the end of his life and was struggling to complete his
autobiography, it was to his earliest works on paper that he returned. ‘When I
came to look into the early drawings I lived again that wonderful hour,’ he
told Gordon Bottomley. ‘I could feel myself making those drawings – in some
ways the best I ever did to this day. And because of this I suddenly saw the
way to finish my ‘life’ … I feel I could make a complete thing by taking it up
to 1914 – just up to the war. After that it was another life, another world.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_edn16" name="_ednref16" style="mso-endnote-id: edn16;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[16]</span></span><!--[endif]--></span></span></a>
In examining the career of an artist like Paul Nash, or those of his colleagues
in the Modern English Watercolour Society, or their precursors such as Van Gogh
and Cézanne, let us not overlook the extent to which they worked with
water-based media as well as oil.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<br /></div>
<br />
<div style="mso-element: endnote-list;">
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="edn1" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[1]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Vincent Van Gogh, Letter
256, to Anthon van Rappard, The Hague, 13 August 1882, in <i style="mso-bidi-font-style: normal;">Vincent Van Gogh: The Letters</i>, <span style="mso-bidi-font-weight: bold;">edited by Leo Jansen, Hans Luijten and Nienke Bakker (The Van Gogh
Museum, 2009), at</span> www.vangoghletters.org.<o:p></o:p></span></div>
</div>
<div id="edn2" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[2]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> <i style="mso-bidi-font-style: normal;">The Daily Telegraph</i>, 15 February 2011.<o:p></o:p></span></div>
</div>
<div id="edn3" style="mso-element: endnote;">
<div class="MsoNormal">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[3]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> P.A., ‘The Failure of our
Water-colour Tradition,’ <i style="mso-bidi-font-style: normal;">The Burlington
Magazine</i>, vol. 7, no. 26, May 1905, 112-15.<o:p></o:p></span></div>
</div>
<div id="edn4" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref4" name="_edn4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[4]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Vincent Van Gogh, Letter
192, to Theo Van Gogh, The Hague, about 18 December 1881,
www.vangoghletters.org.<o:p></o:p></span></div>
</div>
<div id="edn5" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref5" name="_edn5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[5]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Robert Delaunay, <i style="mso-bidi-font-style: normal;">The New Art of Color: The Writings of Robert
and Sonia Delaunay</i>, edited by Arthur A. Cohen (New York, 1968), 20.<o:p></o:p></span></div>
</div>
<div id="edn6" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref6" name="_edn6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[6]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Frank Rutter, <i style="mso-bidi-font-style: normal;">Evolution in Modern Art: A Study of Modern Painting,
1870—1925</i> (London: George G. Harrap, 1926), 146.<o:p></o:p></span></div>
</div>
<div id="edn7" style="mso-element: endnote;">
<div class="MsoNormal">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref7" name="_edn7" style="mso-endnote-id: edn7;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[7]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Margaret Nash, ‘Memoirs
of Paul Nash, 1913-1946’, unpublished MS, 1951, Tate Gallery Archive, London,
TGA 769.2.6.<o:p></o:p></span></div>
<div class="MsoEndnoteText">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-spacerun: yes;"> </span>(1951), f. 16-17.<o:p></o:p></span></div>
</div>
<div id="edn8" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref8" name="_edn8" style="mso-endnote-id: edn8;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[8]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> John Rothenstein,<i style="mso-bidi-font-style: normal;"> Modern English Painters, Sickert to Moore</i>
(London: Eyre and Spotiswood, 1957), 347-8.<o:p></o:p></span></div>
</div>
<div id="edn9" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref9" name="_edn9" style="mso-endnote-id: edn9;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[9]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Paul Nash to Gordon
Bottomley, 16 July 1918, in Claude Colleer Abbott and Anthony Bertram (eds.), <i style="mso-bidi-font-style: normal;">Poet & Painter. Being the Correspondence
Between Gordon Bottomley and Paul Nash, 1910–1946</i> (London: Oxford University
Press, 1955), 98<o:p></o:p></span></div>
</div>
<div id="edn10" style="mso-element: endnote;">
<div class="MsoNormal">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref10" name="_edn10" style="mso-endnote-id: edn10;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[10]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Frank Rutter, <i style="mso-bidi-font-style: normal;">Evolution in Modern Art: A Study of Modern
Painting, 1870—1925</i> (London: George G. Harrap, 1926), 145.<o:p></o:p></span></div>
</div>
<div id="edn11" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref11" name="_edn11" style="mso-endnote-id: edn11;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[11]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> <i style="mso-bidi-font-style: normal;">The Burlington Magazine</i>, vol. 42, no 242, May 1923, 261.<o:p></o:p></span></div>
</div>
<div id="edn12" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref12" name="_edn12" style="mso-endnote-id: edn12;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[12]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Alan Power, <i style="mso-bidi-font-style: normal;">Eric Ravilious: Imagined Realities</i>
(London: Imperial War Museum, 2004), 37.<o:p></o:p></span></div>
</div>
<div id="edn13" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref13" name="_edn13" style="mso-endnote-id: edn13;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[13]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> <i style="mso-bidi-font-style: normal;">The Observer</i>, 13 October 1929.<o:p></o:p></span></div>
</div>
<div id="edn14" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref14" name="_edn14" style="mso-endnote-id: edn14;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[14]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> <i style="mso-bidi-font-style: normal;">The Times</i>, 4 November 1932<o:p></o:p></span></div>
</div>
<div id="edn15" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref15" name="_edn15" style="mso-endnote-id: edn15;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[15]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> <i style="mso-bidi-font-style: normal;">The Times</i>, 15 April 1935.<o:p></o:p></span></div>
</div>
<div id="edn16" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ednref16" name="_edn16" style="mso-endnote-id: edn16;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[16]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Paul Nash to Gordon
Bottomley, Abbott and Bertram (1955), 219.<o:p></o:p></span></div>
</div>
</div>
David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0tag:blogger.com,1999:blog-7075226537192406884.post-23824641783031847572015-06-25T11:07:00.000+01:002020-06-11T09:57:32.837+01:00I Am Spain<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p>When writing a book there's always material that has to be cut - sometimes that's a good thing: it just might not be right for the place you want it to go; or it might just be self-indulgent, and you know it ought to go. I wanted to include the following as an opening scene-setter for my 2012 book, <i>I Am Spain</i>. It is almost entirely taken from Claud Cockburn's 1936 book, <i>Reporter in Spain</i> (written under the pseudonym Frank Pitcairn). T</o:p>his blog seems like a good place to publish it. <span style="line-height: 150%;">The accompanying photo of Cockburn with Fred Copeman of the British Battalion of the International Brigades was taken at the battle of Brunete in the summer of 1937 by Gerda Taro, very shortly before her death. For a while she was the lover of Robert Capa, and in my opinion was (or could have been) the greater war reporter.</span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<o:p><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></o:p></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Early on a warm July morning in
1936 a young British reporter sat down for breakfast in the station café at
Cerbère. Nestling on the coastline where the Pyrenees meet the Mediterranean,
this was the last railway stop in southern France before the Spanish border.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Claud Cockburn
was no ordinary journalist. Though he
possessed a lax attitude to facts, his old school friend the novelist
Graham Greene would call him one of the greatest journalists of the twentieth
century. Perhaps more accurately, the British secret service considered him a
‘professional mischief maker’ whose ‘intelligence’, ‘capability’ and
‘unscrupulous nature’ made him ‘a formidable factor with which to reckon’. Born
in Peking in 1904, Cockburn had been educated at public school and Oxford. A
heavy drinker and smoker, he was ever in a hurry (his wife would describe him
as being like a rag-doll, his elongated arms and dangling legs ever in vigorous
motion). <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">In the late
1920s he had worked for that most establishment of British newspapers, <i style="mso-bidi-font-style: normal;">The Times</i> – first in Berlin, then in
America. Arriving in New York City in 1929 it had soon become apparent that
what was happening on Wall Street was everything. ‘You could talk about
prohibition, or Hemingway, or air conditioning, or music, or horses,’ he later
wrote, ‘but in the end you had to talk about the stock market, and that was
where the conversation became serious.’ If the Great War had been the first
global disaster of the twentieth century, the Wall Street Crash of 1929 was the
second. After the Crash, the Depression descended upon the world (to use George
Orwell’s apt phrase) ‘like an ice age’. It was no exaggeration to say that many
liberal thinkers saw Western civilization as on the brink of collapse.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpkpnXGKHNcqviYKnbhOZ8sQ7oH2SuS9Pz9V3m65hBD-ksYHgZPrZEqab5H8TuiCX082Rc0uXOc4o_A2K8im_o2MlQYDwcw9bI0TDQDgZ4-34-5EcaayNmDeHM1YdbWpmBgaV6yQQapk0/s1600/28+gtaro+claudcock+fredcopeman+NYC109173.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpkpnXGKHNcqviYKnbhOZ8sQ7oH2SuS9Pz9V3m65hBD-ksYHgZPrZEqab5H8TuiCX082Rc0uXOc4o_A2K8im_o2MlQYDwcw9bI0TDQDgZ4-34-5EcaayNmDeHM1YdbWpmBgaV6yQQapk0/s320/28+gtaro+claudcock+fredcopeman+NYC109173.jpg" width="320" /></span></a></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Claud Cockburn and Fred Copeman, Brunete, July 1937.</span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Having read Karl
Marx in Germany, Cockburn was already a convinced Communist, believing that
‘the Party’ was the one organization that could combat the rising tide of
Fascism, and that the communists alone could save the disposed from capitalist
oppression. Quitting <i style="mso-bidi-font-style: normal;">The Times</i> in
1932, Cockburn had launched his own political paper, <i style="mso-bidi-font-style: normal;">The Week</i>. Sources were plentiful, for ‘under the frightful
overhanging menace of Hitlerism,’ he observed, ‘there roamed through the
capitals of Western Europe people who were half saint and half bandit – the
sort of people who would commit a murder for twenty pounds and suicide for a
good idea.’ Relying on a network of sometimes brave, sometimes unscrupulous
fellow journalists, inside informers, disaffected civil servants, tip-off
merchants and whistle-blowers, on three pages of foolscap Cockburn published
stories of international rumour, supposed plots, libellous gossip, plausible
intrigues and assertive opinions (largely his own). He would later boast that
readers of his scurrilous periodical included the foreign ministers of eleven nations, the staff of
all the embassies in London, a dozen US Senators, fifty MPs, the King of
England and the Nazi Minister of Propaganda, Joseph Goebbels. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
As if <i style="mso-bidi-font-style: normal;">The
Week</i> was not enough work for one man, Cockburn </div>
was also a special
correspondent for <i style="mso-bidi-font-style: normal;">The</i> <i style="mso-bidi-font-style: normal;">Daily Worker</i>. It was on behalf of this
Communist Party newspaper that he found himself in Cerbère that July in 1936,
en route to Catalonia to report on the Workers’ Olympiad that was due to open
in Barcelona in a few days’ time.<o:p></o:p>
<br />
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">When the sea air
smelt suddenly of violets, Cockburn looked up and watched as a tall, fattish
gentleman in expensive clothes and carrying a perfumed handkerchief walked in.
Two men followed him – dressed in tight-cut Palm Beach suits like
prohibition-era gangsters, they hardly bothered to conceal the pistols at their hips.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>When
the noise came of a train rolling through the tunnel from Spain the fat man and
his bodyguards rose from their chairs and left.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘Somebody
in particular? Cockburn asked the waiter.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘They
say so.’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘Well,
and …?’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘A
Colonel or something or other from Madrid’, said the waiter. ‘Big shot. Has an
aeroplane up in Perpignan. Colonel of aviation I think. Lives at the Grand
Hotel. Very swell.’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘So
what?’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘So
nothing. Except that they say – I’m just telling you what they say – that he
isn’t there for nothing, so to speak. Possibly you understand something of the
situation in Spain.’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘Well?’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘Well
a fortnight ago this fellow comes hell for leather over the frontier at Le
Perthus, by car of course, and goes up to Perpignan at the Grand Hotel. He was
mixed up some way in killing the miners in Asturias last year and the year
before or whenever it was. That’s why he had to beat it after the elections.
They say he has a mission.’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘Such
as?’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘How
should I know? I suppose you and I think the rich are going to sit quiet and –
what’s the phrase? – “accept the verdict of the pee-pull?” Like hell they are.’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘This
is the twelfth of July. Five months after the elections.’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘All
the longer to get ready.’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘So
the Colonel, what is he doing down here on the frontier?’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘Well,
I should say, and our Spanish comrades here say that he is, so to speak, listening
for something.’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘Listening?’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>The
waiter made a gesture, indicating a man putting his ear to the ground.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>‘You
think he’ll hear something soon?’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>The
waiter grimaced. Cockburn stood up – it was time to catch the Barcelona train. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">From his
carriage Cockburn watched the fascist Colonel standing on the opposite
platform, expensive and perfumed with his sleek bodyguards, listening for news
of a steadily thickening plot against his country. It would not be long now.<o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-tab-count: 1;"> </span>And
it occurred to Cockburn that if you wanted 1936’s equivalent for those symbolic
figures of Death that appear in medieval wall paintings – well, that Spanish
Colonel … he would do.</span><o:p></o:p></div>
David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0tag:blogger.com,1999:blog-7075226537192406884.post-41836531951107603052015-06-19T16:47:00.001+01:002016-01-29T12:36:39.888+00:00Edgar Astaire's collection at Christie's, London<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><o:p> In June 2015 Christie's in London sold some of Edgar Astaire's outstanding collection of twentieth-century British art, including Gertler's painting <i>The Violinist</i>, which made a record price for the artist, realising £542,500 on the night. T</o:p></span><span style="line-height: 150%;">his is the short essay that they invited me to write to accompany the catalogue:</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">In the
years immediately prior to the outbreak of the First World War the British art
scene exploded in an extraordinary outburst of vitality. This was the arrival
of Modernism, the moment when that now familiar phrase, the <i style="mso-bidi-font-style: normal;">avant garde</i>, first entered the English
lexicon. It saw the emergence of a remarkable crop of talents, many of whom are
represented in Edgar Astaire’s outstanding collection. Coincidentally, the majority
of the artists he collected – Walter Sickert, William Rothenstein, Augustus
John, Mark Gertler, C.R.W. Nevinson, David Bomberg, William Roberts and Isaac
Rosenberg– were all linked by their attendance at one particular art school:
the Slade. Founded in 1871 as part of University College London, by the last
decade of the nineteenth century the Slade had become one of the most advanced
places in Britain to study art, fostering under its drawing master, Henry
Tonks, a keen attention to life study and meticulous draughstmanship. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Augustus
John and Mark Gertler (as well as Gertler’s contemporary at the Slade, Stanley
Spencer) were among Tonks’s most talented pupils. Indeed, John Singer Sargent
would remark of John’s student drawings that nothing like them had been seen
since the Renaissance, and he would tell the young David Bomberg that the Slade
‘was the finest School for Draughstmanship in the world’. This was Tonks’s
ambition: to point his students back to the long tradition of Western art
history, to reveal to them the Old Masters, and to encourage them to produce
their finest work within this tradition. The great names Tonks encouraged his
students to study and emulate included Michelangelo, Holbein, Rubens,
Rembrandt, Ingres and Watteau – artists whose work they diligently studied
first hand at the National Gallery, the British Museum and Dulwich Picture
Gallery. Thus we witness John’s exquisite portrait of his mistress and second
wife, Dorothy McNeill (known as Dorelia), as well as Gertler’s startlingly
accomplished drawing of his friend, muse and fellow Slade student, Dora
Carrington, together with his early Renaissance-inspired paintings of
Carrington and the mysterious <i style="mso-bidi-font-style: normal;">Violinist</i>.
Isaac Rosenberg’s extraordinary self-portrait reveals these young artists’ remarkable
ability to capture the personality in a face – their own, or another’s. This is
drawing hard won only by looking, from endless hours of labour in the life
class.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvjmdUjTVnGmMZu8L77YBo1Ph1pEWTqn9pu9VXd_uFh4RAMzYE3OllJKquWN51BYXK6tlKNLKxYgzZWSda0zs3XjpgmzjcYRsslqZnqlq-8j-x31YsNHVcHIySjImXPxuIyAVcakSn-bw/s1600/Gertler+-+The+Violinist+%25281912%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvjmdUjTVnGmMZu8L77YBo1Ph1pEWTqn9pu9VXd_uFh4RAMzYE3OllJKquWN51BYXK6tlKNLKxYgzZWSda0zs3XjpgmzjcYRsslqZnqlq-8j-x31YsNHVcHIySjImXPxuIyAVcakSn-bw/s640/Gertler+-+The+Violinist+%25281912%2529.jpg" width="456" /></a></div>
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<span style="font-family: "arial"; font-size: 12px; line-height: 18px;"> Mark Gertler, <i>The Violinist</i> (1912)</span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><o:p><br /></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">This
period was not just about its personalities, however. It was also about the
eruption of a range of movements and manifestoes – the dramatic arrival in
Britain of a series of exciting challenges to Tonks’s long academic tradition.
Roger Fry – the Bloomsbury critic and painter who would so dominate aesthetic
taste and debate in the opening decades of twentieth-century England – called
the continental artists who mounted this challenge to traditionally perceived
representations the Post-Impressionists. They included some of the greatest
names of modern European art: Manet, Van Gogh, Matisse, Gauguin, Cezanne and
Picasso. In two exhibitions held in London in 1910 and 1912, Fry brought their new
vision to a startled and largely unsuspecting British audience. Many of the
critics were appalled. As <i style="mso-bidi-font-style: normal;">The Times</i>
observed, such work ‘throws away all that the long-developed skills of past
artists had acquired and bequeathed. It begins all over again – and stops where
a child would stop.’ ‘I cannot teach what I don’t believe in,’ Tonks declared
when it was suggested that he might open up the Slade’s curriculum to these new
influences. ‘I shall resign if this talk about Cubism does not cease; it is
killing me.’ <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Alongside
the appearance of Post-Impressionists art in England, there was also the
arrival of the Futurists – a group of Italian artists led by the
larger-than-life poet and controversialist, Filippo Marinetti. The Futurists,
as one English critic observed at the time, ‘are young men in revolt at the
worship of the past. They are determined to destroy it, and erect upon its
ashes the Temple of the future. War seems to be the tenet in the gospel of
Futurism: war upon the classical in art, literature and music.’ It sounded
exciting, and though C.R.W. Nevinson became the Futurists’ only English convert,
they inspired other younger generation artists. These converts included David
Bomberg, who embraced the idea of a new, increasingly abstract art that
explored the drama of the urban world around him; by 1914 Bomberg was producing
some of the most dynamic, exciting and unsellable work in London. It was this
fusion of ideas and outpouring of innovative work that helped lead Percy
Wyndham Lewis (himself a Slade graduate) to found the Vorticist movement
shortly before the outbreak of the Great War, with the American sculptor Jacob
Epstein among his young associates. Between them, the work of this group of
young artists marks a pinnacle of British artistic production that was not
really to be repeated until the emergence of the Pop Artists in the 1950s and
‘60s – artists such as Peter Blake and David Hockney, a second wave that is
also represented (albeit on a much smaller scale) in Astaire’s collection.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">It was, of
course, the Great War that undermined this dynamism. Nevinson, Bomberg, Roberts
and Rosenberg would all eventually volunteer for military service, with the
latter being killed in action in April 1918. Only Gertler refused to
participate in what he called the ‘wretched, sordid butchery’; he registered as
a conscientious objector, and in 1916 painted his anti-war masterpiece, <i style="mso-bidi-font-style: normal;">The Merry-Go-Round</i>. That same
year,Walter Sickert would write of Nevinson’s 1915 painting, <i style="mso-bidi-font-style: normal;">La Mitrailleuse</i> that it ‘will probably
remain the most authoritative and concentrated utterance on the war in the
history of painting.’ Sickerts judgement has proved accurate, and <i style="mso-bidi-font-style: normal;">La Mitrailleuse</i> remains one of the
definitive images of the conflict.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">A lifeline
for both art and artists would eventually be offered by the Government’s
official war artists scheme, launched in 1916, and followed later on by a
similar programme of record, propaganda and memorial run by the Canadian
government. Nevinson, Bomberg, Roberts, Rothenstein and Augustus John all saw
service with one of even both of these schemes. As well as keeping many talented
young artists alive, the War Artists scheme also gave them hope at a time when
the future seemed to offer none. ‘There is a good time coming for Art yet in
England,’ Mark Gertler predicted after receiving a commission to paint an
official picture in 1918. ‘I have a feeling that we <i style="mso-bidi-font-style: normal;">are</i> going to have good painting, after the War, there are good
times coming if only we can hold out. This War is not the end.’<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">For a
moment, Gertler’s prediction seemed to hold true. Shortly after the Armistice
the prominent New York collector Albert Eugene Gallatin visited Europe, and was
fascinated by what he saw in London. ‘Pulsating with life and possessing a
distinctly fresh vision,’ he told an interviewer from <i style="mso-bidi-font-style: normal;">The Observer</i> in 1921, ‘a movement is now well under way which, in
my opinion, will develop into one of the great epochs of English painting.
Paris and New York cannot in this respect vie with London.’ This new vitality
had its origins immediately before the war. It had then been interrupted by the
war, before being reinvigorated by it. Sadly, its promise was not fully
realized. C.R.W. Nevinson had his moment in New York, when that city seemed to
promise him a way forward, to maintain the momentum from the war, but it was not
to be. David Bomberg was forced abroad, travelling to Palestine, and later to
Spain, to pursue his remarkable vision. Neither John’s nor Gertler’s star ever shone
so bright again, and it would be many decades before London really did vie with
Paris and New York to hold the crown of contemporary art. For a moment,
however, it had seemed that it was here, in England, out of the horrors of war,
that Western art’s future might really lie.<o:p></o:p></span></div>
David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0tag:blogger.com,1999:blog-7075226537192406884.post-17290344143854404362014-10-22T10:25:00.004+01:002020-06-11T09:54:44.302+01:00Paul Nash on the Walls (of Piano Nobile)<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 150%;">My Paul Nash exhibition opened on 8 October at Piano Nobile Gallery in Holland Park, north-west London, and it runs until the 22nd November. This below is my introduction written for the catalogue, beautifully produced by Graham Rees Design. There's a lovely film of the show on <a href="https://www.youtube.com/watch?v=mhFYkGobRBM">youtube</a>, made by my good friend Jon Adams.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdrB6QGS_p_Z8BVIkuYMU3CDcWpNt1239dMxeHYV1706x5bhy7dSJNnQRICqiWjHlx12q_mgjxqxEjJrs1fAlfaQMvAS9c6O8f5IcAY6sJAR4w1hKI5meGdevtSn58y9t0phx-QyNTfJI/s1600/Nash+-+The+Orchard+(1914)%2Bpriv.%2Bcoll..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdrB6QGS_p_Z8BVIkuYMU3CDcWpNt1239dMxeHYV1706x5bhy7dSJNnQRICqiWjHlx12q_mgjxqxEjJrs1fAlfaQMvAS9c6O8f5IcAY6sJAR4w1hKI5meGdevtSn58y9t0phx-QyNTfJI/s400/Nash+-+The+Orchard+(1914)%2Bpriv.%2Bcoll..jpg" width="400" /></a></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 150%;">Paul Nash, <i>The Orchard </i>(1914), pencil and watercolour: private collection</span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">‘ANOTHER LIFE, ANOTHER WORLD’<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">When the Great War broke out in the
summer of 1914 Paul Nash was in his mid-twenties and gradually establishing a
reputation as a painter of subtle watercolours of trees, gardens and landscapes
– an understated modernist who nevertheless retained links with the English
Romantic tradition. Sent to the Western Front in early 1917 as a junior
infantry officer, Nash was invalided home after a night-time fall into a trench
– an accident that quite probably saved his life. When he returned to the
battlefields of Passchendaele later in the year it was as an Official War
Artist. If 2<sup>nd</sup> Lieutenant Nash <i style="mso-bidi-font-style: normal;">had</i>
been killed in action – as could so easily have happened – his reputation today
would be as a lost young watercolorist.</span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">But Nash
survived, and produced some of the greatest watercolours and oil paintings of
the war that was to have ended wars. In the opinion of the critic John
Rothenstein, writing in the 1950s, what Nash experienced in the wastes of Flanders
in the winter of 1917 ‘made him an artist as decisively as the scenes of his
boyhood by the River Stour made Constable an artist.’ Before the Great War,
Nash had <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">seemed to
be an artist of modest range … There can be little doubt that had he been
destined to take his place among the unnumbered thousands who died in the Ypres
Salient he would have been unremembered, but surviving the bitter desolation of
the place immeasurably deepened his perceptions … The impact upon the
imagination of a [man like] Paul Nash of this vast desolation of tortured
country, churned to mud, pitted with shell-craters, the grass scorched and
trampled, was of the utmost violence. An artist accustomed to handle nature
more arbitrarily, or familiar with her harsher aspects, might have taken the
spectacle less hardly, but he, who had treated her with such tender respect,
was pierced by a sense of outrage.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[1]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">As for so many in his generation,
Nash’s life fell into two halves: a division demarcated by the Great War of
1914—18. When he was invited to write his autobiography in the late 1930s,
after an early flourish, he struggled to complete his life’s story. By July
1945, as he knowingly entered his final months, Nash wrote and told his old
friend, Gordon Bottomley,<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">When I
came to look into the early drawings I lived again that wonderful hour. I could
feel myself making those drawings – in some ways the best I ever did to this
day. And because of this I suddenly saw the way to finish my ‘life’ … I feel I
could make a complete thing by taking it up to 1914 – just up to the war. After
that it was another life, another world.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[2]</span></span><!--[endif]--></span></span></a>
<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">* * *<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Paul Nash was born in London on 11
May 1889, the eldest of three children in a moderately prosperous middle-class
family. They moved to the countryside in 1901, settling at Iver Heath, near
Langley, Buckinghamshire, and it is clear from both his contemporary letters
and the memories of his childhood recorded in his autobiography, <i style="mso-bidi-font-style: normal;">Outline</i>, that early in his life Nash
developed an acute sensitivity to landscape, and the mysterious ambiance of
certain places. This feeling for place and for nature became one of the
defining characteristics of his personality, and his art – for the two were
indelibly linked. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Educated
at St Paul’s School, London, Nash was seventeen when what he called ‘the long
and complicated purgatory’ of his school life ended. ‘I emerged from it
impaired in body and spirit,’ he later wrote, ‘more or less ignorant and
equipped for nothing.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[3]</span></span><!--[endif]--></span></span></a>
He had failed to pass the exams that would have launched him on the Royal Navy
career his parents had intended, and his father wisely ignored suggestions his
son find employment in a bank. Though an uncle in the army ‘seemed to have
painted as many water-colours as the family could hang on its drawing-room
walls’, and Paul and his brother John had enjoyed regular ‘bouts of smearing
and daubing with cheap water-colours,’ art was not something that had featured
strongly in the Nash household.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[4]</span></span><!--[endif]--></span></span></a>
Yet when Paul proposed that he might earn his living ‘as a black and white
artist or illustrator … no objection was raised. In fact, everything was done
to launch me on this precarious career.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[5]</span></span><!--[endif]--></span></span></a>
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>In
December 1906 he began taking classes at Chelsea Polytechnic. Then, in the
autumn of 1908, he started evening classes at the London County Council’s
School of Photo-engraving and Lithography at Bolt Court, just off Fleet Street.
‘The whole place had an atmosphere of liveliness and work’, he later recalled.
‘You were there to equip yourself for making a living. It suited me.’ Here it
was expected that he would lay his foundations as ‘a slick and steady machine
for producing posters, show cards, lay-outs and other more or less remunerative
designs’. Instead, he found himself falling under the influence of Dante
Gabriel Rossetti and the Pre-Raphaelites, as his work from this period clearly
reveals [fig. – ].<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[6]</span></span><!--[endif]--></span></span></a>
Imitating Rossetti – and another early artistic influence, William Blake – Nash
often accompanied early works with words of poetry; via Blake he discovered
Samuel Palmer, who proved another important influence, lending much of the
mystical and magical to Nash’s sometimes visionary creations. On being awarded
a prize for a drawing by the artist William Rothenstein, he was advised to go
the Slade School of Art, at University College London.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Founded
in 1871, the Slade had made its name as a place where drawing was uppermost,
and the life-class ruled the curriculum; former students had included Gwen and
Augustus John, William Orpen, Spencer Gore, Percy Wyndham Lewis and Ambrose
McEvoy. When Nash arrived in the autumn of 1910 he confidently showed his
drawings to Henry Tonks, the School’s famously caustic master of drawing. ‘In
cold discouraging terms he welcomed me to the Slade,’ Nash later recorded. ‘It
was evident he considered that neither the Slade, nor I, was likely to derive
much benefit.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[7]</span></span><!--[endif]--></span></span></a>
Nash’s fellow students were among the finest that would ever study there, and
included Stanley Spencer, Mark Gertler, David Bomberg, C.R.W. Nevinson, William
Roberts, Edward Wadsworth and Dora Carrington. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>Unlike
most of his contemporaries at the Slade, Nash had no ambition to paint in oil.
His chosen media were all paper based: pen and ink, pencil, chalk and
watercolour. Trees, landscapes and gardens would be his absorbing subjects: although
the human figure occasionally made an appearance – as in the watercolour
commonly called <i style="mso-bidi-font-style: normal;">Barbara in the Garden</i>
[fig. –] – it proved a struggle. It was partly for this reason he lasted little
more than a year at the Slade. Nevertheless, he enjoyed early success with a
small exhibition held at the Carfax Gallery in November 1912 – a show that included
<i style="mso-bidi-font-style: normal;">A Lane in Blue </i>[fig. –], <i style="mso-bidi-font-style: normal;">The Three</i> [fig. –] and <i style="mso-bidi-font-style: normal;">Falling Stars</i> [fig. –]. Subsequently, an
introduction to the collector and patron Edward Marsh helped open Nash’s eyes
for the first time to the work of the great English landscape painters, in
particular John Sell Cotman, John Crome and Richard Wilson.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[8]</span></span><!--[endif]--></span></span></a>
(Constable, however, was of no interest to him: ‘I did not want to paint
landscape like Constable’, he recorded in <i style="mso-bidi-font-style: normal;">Outline</i>).<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[9]</span></span><!--[endif]--></span></span></a>
Through his acquaintance with Carrington, Gertler, Spencer and other young
contemporaries, he was also exposed to the exciting and disturbing movements in
modern art: Post-Impressionism, Cubism, Futurism and Vorticism. None of these
greatly interested him, though he was amused when in December 1913 he and his
brother were invited to exhibit alongside the arch-modernists Nevinson,
Wadsworth, Bomberg and Wyndham Lewis at an exhibition in Brighton.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[10]</span></span><!--[endif]--></span></span></a>
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Of the
critics who knew Nash personally, it was, perhaps, William Rothenstein’s son,
John, who made the best assessment of the artist’s early career. For
Rothenstein, in the years up to the summer of 1914, Nash’s work had ‘assumed a
traditional character’. He was uncertain which painters in the long tradition
of English watercolourists had ‘pointed the way’, for Nash <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">was too
personal an artist to imitate an old master, but what he did was to assimilate
something of the spirit of Girtin, Cotman and others, and to evolve a free
contemporary version of traditional idioms. He seemed destined to follow closely,
with intelligence and taste, a conventional course. English landscape, his
chosen subject, he represented in its most park-like aspect: green lawns,
formal hedgerows and farms and the elegant intricacies of lofty elms were
features which he dwelt on with a peculiar tenderness and comprehension. In the
best of these clearly drawn, firmly if lightly constructed, brightly but coolly
coloured water-colours he struck an original note.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[11]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Then, in August 1914, came the War.
Nash was with his future wife, Margaret Odeh, visiting Gordon Bottomley in
Lancashire, when the news broke. They returned to London, ‘and when we got out
at St Pancras station’, Margaret later recalled, ‘we found small boys marching
down the street with toy drums which they were beating and bugles which they
were blowing, and the pathetic martial air of these children as they played at
the war game terrified us.’ As Margaret remembered, she was <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">an ardent
believer in both the uselessness and utter impossibility of so barbaric<span style="mso-spacerun: yes;"> </span>a solution of world problems. To Paul, it was
more simple, for he immediately felt that as an Englishman it was his duty to
fight for his country. He had a very clear and simple conception of his duty
towards his country, which he passionately loved, and although he was the last
human being in the world to tolerate the horror and cruelty of war, he had an
immediate and firm conviction that he must fight for England.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">As I remember him now, there comes back to me an Elizabethan atmosphere
about his few remarks on the necessity of fighting for a country which meant
poetry and beauty to him as an artist, and freedom of thought and action to him
as an Englishman. And so I dumbly accepted his decision to enlist at once in
the Artists Rifles …<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn12" name="_ftnref12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[12]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Nash spent the next two years on home
service, before undergoing officer training; he was gazetted second-lieutenant
in the Hampshire Regiment at the end of 1916. ‘One thing that troubles me
always is that I have done so awfully little so far,’ he wrote ruefully to
Gordon Bottomley on New Year’s Day 1917, ‘never painted a picture yet only made
a few queer drawings and oh, Gordon I did want to do something …’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn13" name="_ftnref13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[13]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">A month
later he was on the Western Front. Luckily for Nash it was a quiet time in the
Line, and at first he was happy. ‘It sounds absurd, but life has a greater
meaning here and a new zest, and beauty is more poignant,’ he told Margaret. He
continued to draw, making sketches of the blasted woods, a ruined church, a
scarred hill, and ‘the trenches under a bloody sort of sunset, the crescent
moon sailing above’.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn14" name="_ftnref14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[14]</span></span><!--[endif]--></span></span></a>
Then on the night of 25 May 1917, a week before he was to lead his men over the
top, Nash fell from a parapet and into a trench, breaking a rib. By 1 June he
was back in London. According to Margaret’s account, when his company went into
action shortly afterwards ‘they practically disappeared under an overwhelming
barrage which had caught them in the advance.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn15" name="_ftnref15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[15]</span></span><!--[endif]--></span></span></a>
As Nash acknowledged, his escape ‘was a queer lucky accident’.<span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn16" name="_ftnref16" style="mso-footnote-id: ftn16;" title="">[16]</a></span></span><a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn16" name="_ftnref16" title=""><!--[endif]--></a></span></span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Paul Nash, <i>Chaos Decoratif (</i>1917), watercolour: Manchester City Art Galleries</span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"></span>In
June 1917 the watercolours he had painted at the Front were exhibited in
London. Their success led to his recruitment into the Ministry of Information’s
scheme of sending official artists to the Front. In November Nash thus returned
to the Ypres Salient; there he made a series of drawings in the aftermath of
the Allied armies’ Passchendaele offensive. Returning to London, it was only
now, when he was almost thirty years old, that Nash completed his first
painting in oil. As he told Gordon Bottomley in July 1918, these first attempts
had been ‘a complete experiment you know – a piece of towering audacity I
suppose as I had never painted before ...’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn17" name="_ftnref17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[17]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsf2JttuyyTogKxSeP3EvjTFCOkoTKA9t2ROtF6uNKYZWgzUKyIeNmt5v1C_jEXzUUOgqCFmEeHINAl4M4KWVsdh_0EWUhfYxbGvhy_WIZtPzmTC-uP3O7OiG801tZFmOk6tGD0hJeZXI/s1600/Nash+-+Wire+(IWM).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsf2JttuyyTogKxSeP3EvjTFCOkoTKA9t2ROtF6uNKYZWgzUKyIeNmt5v1C_jEXzUUOgqCFmEeHINAl4M4KWVsdh_0EWUhfYxbGvhy_WIZtPzmTC-uP3O7OiG801tZFmOk6tGD0hJeZXI/s400/Nash+-+Wire+(IWM).jpg" width="400" /></a></div>
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<span style="font-family: "arial";"><span style="font-size: 12px; line-height: 18px;">Paul Nash, <i>Wire</i> (1918), watercolour: Imperial War Museum, London.</span></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">From 1918
until the end of his life Nash painted both in watercolour and oils – as well
as producing prints, book illustrations, theatre designs, posters and textile
designs. Despite the remarkable success of such early oils as <i style="mso-bidi-font-style: normal;">We Are Making a New World</i> (1918) and the
monumental <i style="mso-bidi-font-style: normal;">Menin Road</i> (1919), for
some years afterwards he would be considered as foremost a watercolourist. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">’It is usual to feel that Mr. Nash is
more at home with water-colours than oils,’ a critic from <i style="mso-bidi-font-style: normal;">The Manchester Guardian</i> observed in November 1928, ‘but this
exhibition makes it quite clear that he is equally at ease in either medium.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn18" name="_ftnref18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[18]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Whilst he
is more famous today for his work in oil, watercolours remained a significant
part of Nash’s artistic output throughout his career. Indeed, in 1923 he joined
Robert Bevan, Charles Ginner, John Nash, Lucien Pissarro, Randolph Schwabe,
Edward Wadsworth and a number of other artists in the foundation of the Modern
English Watercolour Society – all of whom felt that their work in this medium
did not receive a fair chance of being seen at mixed exhibitions.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn19" name="_ftnref19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[19]</span></span><!--[endif]--></span></span></a>
Nash also contributed works to various other exhibitions devoted exclusively to
watercolours, and held solo exhibitions devoted solely to his watercolours. One
such exhibition, at the Leicester Galleries in November 1932, was particularly
successful. ‘Certainly Mr. Paul Nash is one of our most interesting artists,’<i style="mso-bidi-font-style: normal;"> The Times</i> observed, ‘particularly when
… he works in water-colour.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn20" name="_ftnref20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[20]</span></span><!--[endif]--></span></span></a>
An exhibition of sixty new watercolours at the Redfern Gallery in London three
years later elicited the response that ‘water-colour seems more apt for his
[artistic] purposes than oil, in which he sometimes gives the impression of
subjecting the fatter medium to the restrictions of fresco.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn21" name="_ftnref21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[21]</span></span><!--[endif]--></span></span></a>
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">And in
1927 the critic P.G. Konody wrote that in the field of watercolours Nash ‘is
now a master with a nice sense of the powers and limitations of his medium. He
makes no attempt to make his water-colours look like oils, but preserves
rigidly their character as drawings, and only uses his colour washes to tint a
pencil outline.’ This ‘extremely reticent’ tinting, he noted, was
characteristic of ‘the old English masters’, and of Cezanne – an artist who
became an increasingly important influence on Nash in the years immediately
after the Great War. For Konody, Nash was – ‘as far as England goes’ – a leader
in the modern school of painting – in both watercolours and oil.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn22" name="_ftnref22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[22]</span></span><!--[endif]--></span></span></a>
Admiring ‘a man who knows exactly what he wants to say and who can express his
meaning in precise and elegant terms’, in 1929, the critic R.H. Wilenski called
Nash ‘the John Sell Cotman of to-day’.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn23" name="_ftnref23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[23]</span></span><!--[endif]--></span></span></a>
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<!--[endif]-->
<br />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[1]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Rothenstein (1957),
343-4.<o:p></o:p></span></div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[2]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Nash to Gordon Bottomley,
Abbott and Bertram (1955), 219.<o:p></o:p></span></div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[3]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Nash (1949), 72.<o:p></o:p></span></div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[4]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Nash (1949), 42, 31.<o:p></o:p></span></div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[5]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Nash (1949), 72-3.<o:p></o:p></span></div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[6]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Nash (1949), 74-6.<o:p></o:p></span></div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[7]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Nash (1949), 88.<o:p></o:p></span></div>
</div>
<div id="ftn8" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[8]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Nash (1949), 136-7.<o:p></o:p></span></div>
</div>
<div id="ftn9" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[9]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Nash (1949), 117.<o:p></o:p></span></div>
</div>
<div id="ftn10" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[10]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Bertram (1955), 76.<o:p></o:p></span></div>
</div>
<div id="ftn11" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[11]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Rothenstein (1957),
342-3.<o:p></o:p></span></div>
</div>
<div id="ftn12" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[12]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> M. Nash (1951), f. 7-8.<o:p></o:p></span></div>
</div>
<div id="ftn13" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[13]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> PN to GB, 1 January 1917,
in Abbott and Bertram (1955), 81.<o:p></o:p></span></div>
</div>
<div id="ftn14" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[14]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Nash (1949), 187.<o:p></o:p></span></div>
</div>
<div id="ftn15" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref15" name="_ftn15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[15]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> M. Nash (1951), f. 13.<o:p></o:p></span></div>
</div>
<div id="ftn16" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref16" name="_ftn16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[16]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Nash to Gordon Bottomley,
August 1917, Abbot & Bertram (1955), 85.<o:p></o:p></span></div>
</div>
<div id="ftn17" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref17" name="_ftn17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[17]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Nash to Gordon Bottomley,
16 July 1918, Abbot & Bertram (1955), 98<o:p></o:p></span></div>
</div>
<div id="ftn18" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref18" name="_ftn18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[18]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> <i style="mso-bidi-font-style: normal;">The Manchester Guardian</i>, 7 November 1928.<o:p></o:p></span></div>
</div>
<div id="ftn19" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref19" name="_ftn19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[19]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> See <i style="mso-bidi-font-style: normal;">The Times</i>, 10 April 1923, p. 10. <o:p></o:p></span></div>
</div>
<div id="ftn20" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref20" name="_ftn20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[20]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> Bertram (1955), 174; <i style="mso-bidi-font-style: normal;">The Times</i>, 4 November 1932.<o:p></o:p></span></div>
</div>
<div id="ftn21" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref21" name="_ftn21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[21]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> <i style="mso-bidi-font-style: normal;">The Times</i>, 15 April 1935.<o:p></o:p></span></div>
</div>
<div id="ftn22" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref22" name="_ftn22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[22]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> <i style="mso-bidi-font-style: normal;">The Observer</i>, 11 November 1928.<o:p></o:p></span></div>
</div>
<div id="ftn23" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref23" name="_ftn23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;">[23]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt;"> <i style="mso-bidi-font-style: normal;">The Observer</i>, 13 October 1929.<o:p></o:p></span></div>
</div>
</div>
David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com2tag:blogger.com,1999:blog-7075226537192406884.post-18970403693810668532014-10-03T12:05:00.000+01:002020-06-11T09:58:45.359+01:00The Prints of C.R.W. Nevinson<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">It has
long been my impression that the thing C.R.W. Nevinson wanted most of all in
life was to be famous. Born in 1889, he was the son of Henry Nevinson, probably
Britain’s most renowned war journalist, and Margaret Wynne Nevinson, a writer
and leading figure in the Suffragette movement. Nevinson grew up in Hampstead
in a talented, ambitious and iconoclastic household. As he would write in <i style="mso-bidi-font-style: normal;">Paint and Prejudice</i>, his notoriously self-aggrandizing
autobiography:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">At home I heard little but a
lucidly expressed contempt for the grossness of Edwardian days and its worship
of all things which were established, be it prostitution or painting. Our house
seemed to be a meeting-place for French, Germans, Finns, Russians, Indians,
‘Colonials’, Professional Irishmen, and Suffragettes, and none of them had any
respect for the things that were. It was, indeed, clear to them that England
had nothing to be proud of; a belief which was in sharp contrast to the
apparent self-righteousness of all other classes. Puritanism, with all its
lusts and cruelties, had created a suspicion of beauty and a reverence for
commercial success. It did not matter what a man did <i style="mso-bidi-font-style: normal;">for</i> the world. What would he leave? A poem? A picture? Nonsense.
Look at his will. [How much] had he <i style="mso-bidi-font-style: normal;">made.<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">This extraordinary domestic atmosphere, combined with a public school
education that he hated (‘I might just as well have sent him for three years to
hell,’ Nevinson’s father later confessed) resulted in a young man who was both
shy and aggressive: ‘The only things that I ever learned as a youth are those I
have spent years trying to forget.’<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>Success and fame, it
seemed, might offer some relief from the sense of inadequacy and failure that
threatened to swallow him up. He chose as his career the life of an artist. It
was a struggle. At the Slade School of Art in London his caustic drawing
master, Henry Tonks, advised him to abandon any ambitions of ever becoming an
artist. Briefly, he turned his eyes to following his father’s profession as a
journalist. But he decided to persevere. He drew, he painted, he experimented,
he exhibited, he explored. In London he met Augustus John, Percy Wyndham Lewis
and Roger Fry; in Paris he tracked down Picasso and Modigiliani. His great
moment came in 1912 when he met the Futurists and befriended Filppo Marinetti
and Gino Severini. He became the only Englishman to join their radical <i style="mso-bidi-font-style: normal;">avant garde</i> movement. From them he
learnt the art of self-promotion – a skill that he would exploit through the
rest of his life. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Marinetti – a poet and a writer,
not a painter – knew the importance of words and publicity in getting yourself
noticed. The Futurists published manifestoes, they put on extraordinary
performances of noise as well as painting, and they made outrageous remarks and
did outlandish things they knew would be reported in the press. Percy Wyndham Lewis
learnt much from the Futurists, and used similar techniques when he established
his own rival group of modernists, the Vorticists, in 1914: the title for the
movement’s manifesto/journal, BLAST, was Nevinson’s invention.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIH2unBYWR2cKpD3yhITq9-WBB0nlfu7KQF33ZOYNqp3-OSiufmKW4HTigQYVnSRIEIWeh5xMBGZ5sYBR2uDo9mIOYitvOM_V20erkJnhLQ45-8HGPdvpVd1vcfx8dYSBkgQkp98XaXdg/s1600/Nevinson+-+Reclaimed+Country+(1917)%2C%2Bdrypoint%2C%2BBM.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIH2unBYWR2cKpD3yhITq9-WBB0nlfu7KQF33ZOYNqp3-OSiufmKW4HTigQYVnSRIEIWeh5xMBGZ5sYBR2uDo9mIOYitvOM_V20erkJnhLQ45-8HGPdvpVd1vcfx8dYSBkgQkp98XaXdg/s640/Nevinson+-+Reclaimed+Country+(1917)%2C%2Bdrypoint%2C%2BBM.jpeg" width="474" /></a></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: center; text-indent: 36pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">C.R.W. Nevinson, <i>Reclaimed Country</i> (1917), drypoint etching</span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: center; text-indent: 36pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Absorbing the Futurists’ lessons,
Nevinson he never ignored an opportunity to talk to the press, or to maximize
the chances of having his work seen. Perhaps, with Wyndham Lewis (who, like
Marinetti, was also a writer) he was the first modern British artist to fully
recognize the fact that it was not simply enough to be a painter. <span style="mso-spacerun: yes;"> </span>It was perhaps this fact that led Nevinson
into becoming a printmaker. Etchings, lithographs, mezzotints, woodcuts,
drypoint – he practiced in all forms – could be produced on a mass scale, and could
be reproduced in the press much better than paintings; they would also travel
further and more cheaply than canvases. The potential for increasing one’s
audience was huge. And he was able to transfer his natural skill as a designer
into powerful black and white images that were also used with some success,
coloured, as posters. His earliest etchings date from the Great War, and were
first shown as a part of his exhibition of war works at the Leicester Galleries
in September 1916 – an exhibition that succeeded in making him probably the
most famous young artist in Britain.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiqZOwriT1OjSS7O-7SEoCjulIxsCi7CEtDvnBtVnAQm4q9p95meuBE0RoQSPHLyPMKfuo0UPaHxQ_YyuYkTzpouCwyOkbK-Ez10W6Q7eHywsA0BBdJ94T-Uy8cwgKv40ssN372w5-xpw/s1600/Nevinson+-+Temples+of+New+York+(c.1919).jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiqZOwriT1OjSS7O-7SEoCjulIxsCi7CEtDvnBtVnAQm4q9p95meuBE0RoQSPHLyPMKfuo0UPaHxQ_YyuYkTzpouCwyOkbK-Ez10W6Q7eHywsA0BBdJ94T-Uy8cwgKv40ssN372w5-xpw/s640/Nevinson+-+Temples+of+New+York+(c.1919).jpeg" width="480" /></a></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: center; text-indent: 36pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">C.R.W. Nevinson, <i>Temples of New York </i>(1919)</span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: center; text-indent: 36pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">It had been my impression that
this fame – along with his talent – dwindled rapidly in the years immediately
following the end of the Great War. But reading Jonathan Black’s recently published and beautifully illustrated
monograph, <i>C.R.W. Nevinson: The Complete Prints</i> (Lund Humphries), revealed that his prints continued to enjoy considerable popularity
until the early 1930s, when poor health sadly brought the production of new
works to an end. Even before the Armistice, Nevinson's subjects included much more than
war: in particular he was interested in cityscapes, especially London, Paris
and New York: there are the streets and buildings, but also the people, the
traffic and the rivers. He was also keen on landscapes and seascapes. <i style="mso-bidi-font-style: normal;">The Blue Wave</i> (1917), which I included
in my ‘Crisis of Brilliance’ exhibition at Dulwich Picture Gallery last year,
is one of the most beautiful artistic evocations of the sea I have ever seen.
It would be easy to pick out a dozen favourites: the skyscrapers of Manhattan,
his politically agitated <i style="mso-bidi-font-style: normal;">Strikers on
Tower Hill</i>, or the wonderful mezzotints, <i style="mso-bidi-font-style: normal;">From an Office Window</i> and <i style="mso-bidi-font-style: normal;">Wind</i>.
The best of them do still date from the peak of his powers between 1916 and
about 1922, but there is much to enjoy throughout his oeuvre. And Jonathan
Black’s accompanying text is wonderfully informative. With the accompanying
exhibition of prints soon opening at Osborne Samuel, and an exhibition of his
war art opening soon at the Barber Institute in Birmingham, Nevinson’s star
will surely continue, deservedly, to rise.<o:p></o:p></span></div>
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David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0tag:blogger.com,1999:blog-7075226537192406884.post-6711043907769276012014-09-12T16:53:00.000+01:002016-01-29T12:38:31.971+00:00Stanley Spencer and the Sandham Memorial Chapel<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">For many
years through my 20s, flitting between my parents' home in Sussex and University and then work in Oxford, I passed the sign on
the A34 that points the turnoff to the Sandham Memorial Chapel. For a long time
– not even after the name Stanley Spencer started to really mean something to
me – did I bother to stop. Yet this was one of the most significant personal
records of the First World War in the country, by one of its greatest artists.
I wonder now why it did not register more strongly on my cultural radar. Yet I
have heard since that for a long time this was the case, and that the chapel
was frequently empty. Spencer had wanted it to be built in his home village of
Cookham, in Berkshire. Burghclere is hardly out of the way, but the chapel
would probably have received more attention there than in initially did in Hampshire.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">In more recent decades, however, interest has grown
considerably. But it was still a stroke of genius on the part of the National
Trust when during the recent restoration of the chapel it took sixteen of the paintings to London and then Chichester and put them on display. Also on show were some of
Spencer’s preparatory drawings and letters, together with a few paintings by
his friend Henry Lamb, including his masterpiece, <i style="mso-bidi-font-style: normal;">Irish Troops in the Judean Hills surprised by a Turkish Bombardment</i>
(1919).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">Spencer had been staying at Lamb’s house in Poole,
Dorset in 1923 when John Louis Behrend and his wife Mary paid a visit. They had
already bought paintings by Spencer, and were intrigued to find the artist
poring over a scheme of drawings that he called ‘a sort of Odyssey of my war
experiences’. As a student, Spencer had been fascinated by the work of Giotto,
and his vision was for a chapel entirely decorated with his own scheme of
paintings. The Behrends duly commissioned both a purpose-built chapel and its
decorations. Mary Behrend’s brother, Lieutenant Henry Sandham, had died on
active service in Salonika, and the chapel would eventually be dedicated to his
memory.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 150%;">The Great War had come as a rude interruption to
Spencer’s artistic development. Having left the Slade School of Art only two
years before, he was riding the crest of a wave. Masterpieces such as <i style="mso-bidi-font-style: normal;">Zacharias and Elizabeth</i> had been
completed, and his self-portrait, now in the Tate collection,
displayed both his technical ability as well as his incredible self-confidence. (The </span><span style="text-indent: 36pt;"><span style="font-family: "arial";"><span style="font-size: 12px; line-height: 18px;">larger-than-life scale of the painting may have been a compensation for his diminutive size - about 5 foot two inches.)</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFmxT5ZrVpQ9VC5x4Ct2d4X3s0-uMvQzNdao4brlog7YInDhZHqm8WkvORYMQDqL1UBbx5A1r1-2JUsRY_-VNG3ed9U_adWERpLBwZsVoy_kTBNQmfyOUT-p7Vq77DusRt0MVR4wVGeZI/s1600/SPencer+-+Self-Portrait+(1914).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFmxT5ZrVpQ9VC5x4Ct2d4X3s0-uMvQzNdao4brlog7YInDhZHqm8WkvORYMQDqL1UBbx5A1r1-2JUsRY_-VNG3ed9U_adWERpLBwZsVoy_kTBNQmfyOUT-p7Vq77DusRt0MVR4wVGeZI/s400/SPencer+-+Self-Portrait+(1914).jpg" width="323" /></a></div>
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Stanley Spencer, Self-Portrait (1914), oil on canvas, Tate collection</div>
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<span style="font-family: "arial"; font-size: 9pt; line-height: 150%; text-indent: 36pt;">But then
the war came; for the first time in his life he started to struggle. The
atmosphere in Cookham, the inspiration behind all of his work, was suddenly all
wrong. A deeply (if idiosyncratically) religious man, he agonized over the
question of whether or not to enlist. ‘It is terrible to be a civilian’, he
wrote to friends in May 1915. ‘God says: “You must go, but I give you the power
to obey or disobey this command.” If you do not go, then you feel something has
gone from you.’ Two months later, having volunteered with the Royal Army
Medical Corps, he was posted to a lunatic asylum in Bristol that had been
hastily converted in to a military hospital. ‘This vile place’, he called it in
a letter to Lamb.</span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">It is Spencer’s experiences at the Beaufort War
Hospital that form the first part of the Sandham series. His new existence as a
medical orderly was tedious, repetitive and subordinate – everything his life
as an artist was not. A friend advised him to read St Augustine of Hippo’s <i style="mso-bidi-font-style: normal;">Confessions</i>. Augustine’s recognition of
God’s presence in every action, however small or routine, helped bring meaning
to Spencer’s work: ‘Ever busy yet ever at rest. Gathering yet never needing,
bearing, filling, guarding, creating, nourishing, perfecting, seeking though
thou hast no lack.’ It was this discovery that made his life bearable, and
which over a decade later he painted so lovingly at Sandham – from washing the
baths, scrubbing the floors and sorting the laundry to helping the injured men
with their bread and jam.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;">In 1916 Spencer volunteered for overseas service.
He was sent to Salonika, serving first with the Royal Army Medical Corps, then as
an infantry private with the Berkshire Regiment. These experiences form the second
part of the Beaufort series: map reading, making firebelts, filling water
bottles, battling with mosquito nets. This is the everyday life of war; there
is no violence, no combat. Death is present only in the culmination of the
work: the Resurrection of the Soldiers, where the fallen rise in perfection
from their graves to lay white crosses at the feet of Christ.<o:p></o:p></span><br />
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt; line-height: 18px;">Though it took Spencer some time to settle on the final design and subject for this large wall behind the chapel’s altar, it would prove to be the key to the whole scheme. As he reflected in the 1940s, ‘This picture is supposed to be a reflection of the general attitude & behavior of men during the war. As soon as I decided in [sic] this it seemed that every army incident was a coin, the obverse of which was presented to me & on the unseen face of which was the Resurrection.’ <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrP8qSQSS2yBGgLajbAgfwzbXDyF74FZ-hLtUbVzwv4jJhJ4c7vGsRjEPulXB0dJVym1waPWYkWYwaJK_sO5ALNnZYILsldxEIOKrowdrKj-vBx-9ALFN4zEe4WDhfqDLD0zoNE4VnxDs/s1600/Spencer+-+Resurection.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrP8qSQSS2yBGgLajbAgfwzbXDyF74FZ-hLtUbVzwv4jJhJ4c7vGsRjEPulXB0dJVym1waPWYkWYwaJK_sO5ALNnZYILsldxEIOKrowdrKj-vBx-9ALFN4zEe4WDhfqDLD0zoNE4VnxDs/s640/Spencer+-+Resurection.jpg" width="558" /></a></div>
<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><br /></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9.0pt; line-height: 150%;"><span style="font-size: 9pt; line-height: 150%; text-indent: 36pt;">When the art historian R.H. Wilenski saw Spencer’s
completed sequence of paintings in 1933, he wrote of his sense ‘that every one
of the thousand memories recorded had been driven into the artist’s
consciousness like a sharp-pointed nail’. It is a vivid – and accurate – description.
This was Spencer’s catharsis. Here he unloaded his experience of the war, and
made it something mundane yet wonderful, and never to be forgotten.</span></span></div>
David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0tag:blogger.com,1999:blog-7075226537192406884.post-35433346199883808422014-08-19T18:56:00.001+01:002014-08-19T18:59:32.660+01:00Artists and the First World War<div class="separator" style="clear: both; text-align: center;">
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<span lang="EN-US">I read somewhere that a writer has to have a lot of potential projects on the go at one time. I'm certainly always thinking about what's next, and last year after finishing work on the 'Crisis of Brilliance' exhibition at Dulwich Picture Gallery </span>I spent quite a lot of time <span style="line-height: 150%;">fleshing out a proposal for a book on this history of war art. It never came off, but with the centenary of the outbreak of the Great War having just passed, it seems worth sharing this completed draft of what was to have been chapter 5, of a book simply titled, <i>Art and War</i>.</span></div>
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<span style="line-height: 150%;"><b>'War and the Twentieth-Century Image'</b></span></div>
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<span lang="EN-US">By 1914 there had
not been a war in Western Europe since Prussia defeated France in 1871, and it
was almost a century since Napoleon had been vanquished at Waterloo. Though
since 1815 there had been major wars, conflicts and revolutions across the
globe, none had engulfed a large part of the world or its populations. All this
was to change. The twentieth century would be the era of total war. <o:p></o:p></span></div>
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<!--StartFragment--><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Ludwig Meidner, <i>Apocalyptic
Landscape</i> (c.1913), oil on canvas, 80 x 116, Nationalgalerie, Staatliche
Museen Preussischer Kulturbesitz, Berlin.</span><!--EndFragment-->
</div>
<div class="separator" style="clear: both; text-align: center;">
<span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br /></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span lang="EN-US" style="line-height: 150%; text-indent: 36pt;">It appeared that some artists (as well as writers) had a premonition
of what might lie ahead. In 1912 the young German Expressionist Ludwig Meidner
started painting his extraordinary series of ‘Apocalyptic Landscapes’. In bright
colours they depict horrors of unfathomable sorts wrought upon the world:
houses and cities are destroyed in a world brooded over by skies of black and
blood, beneath which bodies lie bitter and prostrate. It is a cataclysmic
prediction of some future apocalypse. </span></div>
<div class="separator" style="clear: both; text-align: left;">
<span lang="EN-US" style="line-height: 150%; text-indent: 36pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span lang="EN-US" style="line-height: 150%; text-indent: 36pt;">The conflict in the Balkans inspired a
similarly disturbing response from the German painter, </span><span lang="EN-US" style="line-height: 150%; text-indent: 36pt;">Franz Marc, a
leading </span><span lang="EN-US" style="line-height: 150%; text-indent: 36pt;">figure in the Expressionist <i>Der Blaue Reiter</i> movement</span><span lang="EN-US" style="line-height: 150%; text-indent: 36pt;">. In
his 1913 painting <i>The Wolves (Balkan War)</i>,
dark, sinister creatures displace the harmonious animals that had populated his
earlier landscapes. </span><span style="line-height: 150%; text-indent: 36pt;">The art world itself was in tumult,
as artists and critics fought with one another over the direction art would
take in the new century. The Post-Impressionism of Cézanne, Van Gogh and
Gauguin had inspired the Cubist revolution of Pablo Picasso and Georges Braque.
When these artists were first exhibited en masse in England in 1910 and 1912,
they produced howls of protest and disgust – or laughter – from the press.</span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US">Also courting controversy were the Futurists. The brainchild of the
Italian poet and performer F.T. Marinetti, the Futurists were eager to do away
with the suffocating past and rebuild art, music, literature upon new
foundations. Joined by painters such as Gino Severini and Umberto Boccioni,
Marinetti wanted to embrace a modern world of technology, machinery and motion.
War would be the catalyst for this new utopia. His ‘Founding Manifesto’
published in 1909 declared ‘we will glorify war – the world’s only hygiene –
militarism, patriotism … beautiful ideas worth dying for’.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></span></a> The
Futurists were not alone in their vision. For in a world strongly influenced by
the evolutionary theories of Charles Darwin, it seemed to many commentators
(both radical and conservative) that only a great war would bring to an end the
degeneration and decay apparently overcoming Western civilization. The ‘dead
wood’ had to be removed to make way for a brighter, better future. In the
summer of 1914 a new British movement influenced by Futurism and naming
themselves the Vorticists launched the first issue of their aptly titled
magazine, <i style="mso-bidi-font-style: normal;">BLAST</i>. In its pages was
reproduced <i style="mso-bidi-font-style: normal;">Plan of War</i>, a recent
abstract painting by the Vorticists’ leading voice, Percy Wyndham Lewis. Then
in August 1914 the world changed irrevocably. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US">‘Max Ernst died on the 1<sup>st</sup> of August 1914,’ the German
artist later wrote.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></span></a>
He survived the ensuing carnage. Millions of others did not. Significantly for
the history of art, unlike previous wars many of the combatants were
professional painters, who had either volunteered or were conscripted. Young
modernists from Germany and Austria included Max Ernst, George Grosz, Paul
Klee, August Macke, Oskar Kokoschka and Egon Schiele, whilst notable British
artists included David Bomberg, Percy Wyndham Lewis, Henry Moore, John and Paul
Nash, C.R.W. Nevinson, Stanley Spencer and Edward Wadsworth. French artist
combatants, meanwhile, included the painters Georges Braque, André Derain and
Fernand Léger, and the sculptor Henri Gaudier-Brzeska. Their respective talents
as experimenters of the <i style="mso-bidi-font-style: normal;">avant garde</i>
meant all of them well positioned to depict a war unlike any other that had
gone before – a war that some critics at first considered impossible to paint.
This was not a war for the likes of Lady Butler (as she herself admitted); this
was a war of machineguns, of long-range artillery, tanks, aeroplanes, U-boats
and Zeppelins. It was a Modernist’s war, or a Futurist’s war; a new war that
demanded the very latest artistic techniques. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">THE FIRST WORLD WAR<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US">‘I should hate the
slaughter’, Paul Nash wrote shortly after the start of the war. ‘I know I
should but I’d like to be among it all it’s no ordinary War.’</span><a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Gill Sans"; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Gill Sans"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> The extraordinariness of what was happening initially attracted
many young men to volunteer. Nash enlisted with the Artists’ Rifles, though it
would be two more years before he went to the Front. Another young enthusiast
was the Vorticist, Henri Gaudier-Brzeska. He headed home to enlist – Wyndham
Lewis later recalled the ‘excited eyes’ of this ‘placid genius’ as he caught
the boat train to France.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></span></a> From the
trenches the following year Gaudier-Brzeska described his experiences. Published
in the second (and final) number of <i style="mso-bidi-font-style: normal;">BLAST</i>,
his impressions were remarkably affirmative:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span lang="EN-US">THIS WAR IS A GREAT REMEDY.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US">IN THE INDIVIDUAL IT KILLS ARROGANCE, SELF-ESTEEM, PRIDE.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">
<span lang="EN-US">IT TAKES AWAY FROM THE MASSES NUMBERS UPON NUMBERS OF UNIMPORTANT
UNITS, WHOSE ECONOMIC ACTIVITIES BECOME NOXIOUS AS THE RECENT TRADE CRISES HAVE
SHOWN US.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US">MY VIEWS ON SCULPTURE REMAIN ABSOLUTELY THE SAME.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US">IT IS THE <u>VORTEX</u> OF WILL, OF DECISION, THAT BEGINS.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US">A notice at the
bottom of the essay observed that ‘after months of fighting and two promotions
for gallantry’, Gaudier-Brzeska had been killed in action on 5 June 1915.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></span></a> Only two
of the Frenchman’s small drawings of the war survived. One of them – a small
pencil sketch of a French machine gun in action – would inspire one of the most
striking early paintings of the war.<o:p></o:p></span></div>
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<!--StartFragment--><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Henri Gaudier-Brzeska, <i>A Mitrailleuse in Action</i> (1915), pencil on paper, 285 x 220, Musee
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<span lang="EN-US">The German artist August Macke, like Franz Marc a member of <i style="mso-bidi-font-style: normal;">Der Blaue Reiter</i>, was another early
enthusiast. His friend Max Ernst later recalled how Macke’s attitude ‘baffled’
his friends: ‘Influenced by Futurism he accepted the war not merely as the most
grandiose expression of contemporary madness but also as a philosophical
necessity …’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[6]</span></span><!--[endif]--></span></span></a>
By the time he painted <i style="mso-bidi-font-style: normal;">Farewell</i>,
however, Macke’s mood appears to have shifted. The painting lacks the bright colours
of his previous work: it is sombre, the faceless figures are somehow chilling.
Experience changed everything. ‘It is all so ghastly that I don’t want to tell
you about it,’ he wrote to his wife from the Front in September 1914: ‘the
people in Germany, drunk with ideas of victory, don’t suspect how terrible war
is.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[7]</span></span><!--[endif]--></span></span></a> He was
killed in action the following month. Franz Marc was aghast. ‘With his death a
hand has been severed from the arm of the people,’ he wrote in a tribute, ‘an
eye blinded. How many terrible mutilations must our future culture suffer in
this gruesome war? How many a young spirit will be murdered whom we never knew
and who bore our future within him?’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[8]</span></span><!--[endif]--></span></span></a> Marc
himself would be killed in action at Verdun in 1916.<o:p></o:p></span></div>
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<!--StartFragment--><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Otto Dix, <i>Self-Portrait
as a Soldier </i>(1914), oil on paper, 680 x 555, Stuttgart Municipal Gallery</span><!--EndFragment--></div>
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<span lang="EN-US"><span style="mso-tab-count: 1;"> </span>Nash, Gaudier-Brzeska and Macke were
not alone in their excitement. Otto Dix volunteered for the artillery in 1914,
and painted a belligerent <i style="mso-bidi-font-style: normal;">Self-Portrait
as a Soldier</i>. ‘The war was a horrible thing,’ he later reflected, ‘but
there was something tremendous about it, too. I didn’t want to miss it at any
price. You have to have seen human beings in this unleashed state to know what
human nature is.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[9]</span></span><!--[endif]--></span></span></a>
Portraiture has long proved an important companion to war – a record of its
generals, its combatants, its heroes. Like Dix, during the Great War artists
including Ernst Ludwig Kirchner, </span><span lang="EN-US" style="mso-bidi-font-family: ArialMT; mso-bidi-language: EN-US;">Max Beckmann and William Orpen all painted
striking and memorable self-representations of themselves as soldiers. </span><span lang="EN-US">Kirchner’s situates himself as soldier-artist. He stands in his
studio, a nude model ready to pose for him: but he holds aloft his arms to
reveal that one hand is missing. Kirchner had volunteered in 1914, but after
serving in the artillery suffered a nervous breakdown. He had not actually lost
his hand: this amputation was metaphorical, a representation of experience, the
loss of creativity in the face of so much violence. And was he perhaps thinking
of Marc’s tribute to Macke – the hand ‘severed from the arm of the people’? His
self-inflicted amputation was a clear statement for what was happening to
millions like him. ‘I feel half dead with mental and physical torment,’
Kirchner confessed.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[10]</span></span><!--[endif]--></span></span></a> He did
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<span lang="EN-US">Gino Severini, <i style="mso-bidi-font-style: normal;">Canon in Action</i> (1915), Stadelisches Kunstinstitut, Frankfurt am
Main.</span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: center;">
<span lang="EN-US"><br /></span></div>
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<span lang="EN-US"><br /></span></div>
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<span lang="EN-US"><span style="mso-tab-count: 1;"> </span>The Italian Futurists welcomed the conflagration.
Italy was initially neutral, and Marinetti rushed home to encourage its
participation. Eventually Italy declared war on Austro-Hungary and then on
Germany. Marinetti, Boccioni and other Futurists joined up. Severini, who was
physically unfit for service, travelled to Paris, and there painted his
impressions, including <i style="mso-bidi-font-style: normal;">Cannon in Action</i>
(1915), which makes good use of the occasional Futurist technique of fusing
images with words. The Futurist experience was not all it seemed to have
promised, however. Boccioni was killed in a riding accident in 1916, and
Severini would soon abandon Futurism. <o:p></o:p></span></div>
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<span lang="EN-US"><span style="mso-tab-count: 1;"> </span>The Futurists’ only English convert,
C.R.W. Nevinson, reached a similar conclusion. In November 1914 Nevinson and
his father, the war reporter Henry Nevinson, volunteered with the Friends’
Ambulance Unit. In a railway shed in Dunkirk dubbed ‘The Shambles’ (an old
English word meaning meat market), Nevinson and his Quaker companions helped
tend 3,000 French, British and German casualties. He later recalled how the men
lay ‘on dirty straw, foul with old bandages and filth, those gaunt, bearded
men, some white and still with only a faint movement of their chests to
distinguish them from the dead by their sides.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[11]</span></span><!--[endif]--></span></span></a> After a
week, Nevinson’s former life seemed ‘years away’. After a month he felt he had
been ‘born in the nightmare. I had seen sights so revolting that man seldom
conceives them in his mind’.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn12" name="_ftnref12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[12]</span></span><!--[endif]--></span></span></a> He
returned home, ill and exhausted, in early 1915. He spent the rest of the war
on the verge of a nervous breakdown. In this febrile state he painted a number
of masterpieces of war art. They included <i style="mso-bidi-font-style: normal;">La
Patrie</i>, a recreation of his experience in ‘The Shambles’. ‘When war is no
more,’ one critic wrote in 1916, ‘this picture will stand, to the astonishment
and shame of our descendents, as an example of what civilised man did to
civilised man in the first quarter of the 20<sup>th</sup> century.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn13" name="_ftnref13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[13]</span></span><!--[endif]--></span></span></a> <o:p></o:p></span></div>
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<!--StartFragment--><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">C.R.W. Nevinson, <i>La
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<span lang="EN-US">Equally dramatic was Nevinson’s painting of a French machine-gun
post, <i style="mso-bidi-font-style: normal;">La Mitrailleuse</i> (1916)</span><span style="line-height: 150%; text-indent: 36pt;">, probably inspired by
Gaudier-Brzeska’s earlier drawing. What struck (and even horrified)
contemporary observers was the way the men operating Nevinson’s gun appeared to
have been turned into automatons: man is fused with machine in a murderous
combination. One of the gunners stares out of the picture, his eyes concealed
in the shadow of his helmet. His disembodied form calls to mind the amputated
robotic figure of Jacob Epstein’s Vorticist sculpture,</span><i style="line-height: 150%; text-indent: 36pt;"> The Rock Drill</i><span style="line-height: 150%; text-indent: 36pt;"> (1913-15), whilst his scream would be echoed in the
riders on </span><i style="line-height: 150%; text-indent: 36pt;">The Merry-Go-Round</i><span style="line-height: 150%; text-indent: 36pt;">, painted
that same year by the English pacifist, Mark Gertler. ‘Mr Nevinson’s
“Mitrailleuse”,’ wrote the distinguished painter Walter Sickert in 1916, ‘will
probably remain the most authoritative and concentrated utterance on the war in
the history of painting.’</span><a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn14" name="_ftnref14" style="line-height: 150%; text-indent: 36pt;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[14]</span></span></span></a></div>
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<span lang="EN-US"><span style="mso-spacerun: yes;"> </span>It was the machine gun,
dealing out blind, mechanised slaughter, which more than anything had changed
the nature of warfare. The individual no longer mattered. As Nevinson’s
drawings of columns of marching men revealed, he had been subsumed into the war
machine, a tiny cog, an expendable element. A major exhibition of Nevinson’s
war paintings in 1916 was sensationally received. It made him one of the most
famous young painters in the country. The overall impression of the exhibition
was summed up by <i style="mso-bidi-font-style: normal;">The Manchester Guardian</i>:
‘Mr Nevinson gives you the black gloom, the horror, the feeling of despair that
make even death and mutilation seem trivial incidents in an epoch of horror.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn15" name="_ftnref15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[15]</span></span><!--[endif]--></span></span></a> When
the British Government decided in 1916 to commission a series of artists to
record the war, Nevinson would be among the first to be sent to the Western
Front. The scheme, which was also taken up by the Canadian Government, would
prove to be one of the largest and most successful campaigns of official war
art in history.<o:p></o:p></span></div>
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<span lang="EN-US">As Nevinson had witnessed (and as his art now displayed) the old
order and old notions of warfare had changed. This was no longer a conflict in
which traditional attributes of courage, bravery, chivalry – nor even
patriotism – played a part. The German soldier Ernst Jünger expressed it in his
record of his experiences on the Western Front:<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">The obstacle that stops the best of even the bravest heart here is
not man in some qualitatively superior capacity – it is the appearance of a
new, frightening principle, an apparition of negation. The loneliness in which
the fate of each individual runs its course symbolizes the loneliness of
mankind in a new, unexplored world, whose rule of iron they feel to be absurd.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn16" name="_ftnref16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[16]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">The absurdity, the
horror, and the loneliness of the individual was made apparent in the French
painter George Leroux’s masterpiece, <i style="mso-bidi-font-style: normal;">L’Enfer</i>.
His French soldiers are overwhelmed in a nightmare of gas and smoke, slipping
downwards to drown in oozing mud. It is, indeed, Hell. Leroux captured in paint
the description written from the Front in January 1915 by another Frenchman,
the writer Barbusse (who had published a novel titled <i style="mso-bidi-font-style: normal;">L’Enfer</i> seven years earlier):<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">This evening we leave the trench. What a life! The mud, the earth,
the rain. One is saturated with it, coloured by it, moulded by it. One finds
earth everywhere, in one’s pockets, in one’s handkerchief, in one’s clothes, in
one’s food. It obsesses one, it is a nightmare of earth and mud …<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn17" name="_ftnref17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[17]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US"><span style="mso-spacerun: yes;"> </span>It was thus too that the
British artist Paul Nash conveyed the horror of the Western Front. Though he
told a friend he would rather mend people than kill them, he had volunteered in
1914. He was not sent to the Front until the spring of 1917, as a junior
infantry officer. Injured in a fall, he was fortunate to be sent home. He then
returned to the Front in November as an official war artist, and described what
he saw near Ypres in a powerful letter to his wife:<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">I have just returned (last night) from a visit … up the line & I
shall not forget it as long as I live. I have seen the most frightful nightmare
of a country ever conceived by Dante or Poe – unspeakable utterly
indescribable. In the 15 drawings I made I may give you some vague idea of its
horror, but only being in and of it can ever make you sensible of its dreadful
nature & what men in France have to face. We all have a vague notion of the
terrors of a battle ... but no pen or drawing can convey this country — the
normal setting of the battles taking place day and night, month after month.
Evil and the incarnate fiend alone can be master of the ceremonies in this war:
no glimmer of God’s hand is seen. Sunset & sunrise are blasphemous
mockeries to man; only the black rain out of the bruised & swollen clouds
or through the bitter black of night is fit atmosphere in such a land. The rain
drives on, the stinking mud becomes more evilly yellow, the shell holes fill up
with green white water, the roads & tracks are covered in inches of slime.
The black dying trees ooze & sweat and the shells never cease. They whine
& plunge over head, tearing away the rotting tree stumps, breaking the
plank roads, striking down horses & mules; annihilating, maiming,
maddening: they plunge into the grave which is this land, one huge grave and
cast up the poor dead. O it is unspeakable, Godless, hopeless. I am no longer
an artist interested & curious, I am a messenger who will bring back word
from men fighting to those who want the war to last for ever. Feeble,
inarticulate will be my message but it will have a bitter truth and may it burn
their lousy souls.<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn18" name="_ftnref18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[18]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US">In works such as
the cynically titled <i style="mso-bidi-font-style: normal;">We Are Making a New
World</i> (an allusion, perhaps, to the Futurists’ dream) Nash represented the
war through what it had done to nature. Influenced by Nevinson’s Futurist
techniques, they immediately appealed to soldiers returning from the Front as
the real thing: here was the horror of what they had experienced, laid bare for
all to see. Though <i style="mso-bidi-font-style: normal;">The Times</i> observed
that Nash’s paintings and drawings ‘might be used in the propaganda of a league
of peace’ they hardly hastened the end of the war.</span><a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn19" name="_ftnref19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Gill Sans"; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Gill Sans"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[19]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> That did not come until the Armistice of 11 November 1918.<o:p></o:p></span></div>
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<span lang="EN-US"><br /></span></div>
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<span lang="EN-US">An artist notable by his absence was Picasso. Though he was a
long-term resident in Paris, Spain was neutral, so Picasso had no call to
enlist. Ironically, whilst Nevinson was able to adopt the techniques of cubism
in his war work to great effect, nothing of the Great War exists in the oeuvre
of either Picasso (aside from a few portraits of friends such as Apollinaire in
uniform), or his collaborator, Braque. Nor does anything survive by Derain, who
had, liked Braque, also served in the French army. Oddly, given its position at
the forefront of the modern movement in the early twentieth century, France
failed to respond to the war with the panache of British and German artists.<o:p></o:p></span></div>
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<span lang="EN-US">All that does survive is Gertrude Stein’s anecdote, related in her
1938 book, <i style="mso-bidi-font-style: normal;">Picasso</i>. ‘I well remember
at the beginning of the war being with Picasso on the Boulevard Raspail’, she
recalled, ‘when the first camouflaged truck passed. It was at night, we had
heard of camouflage but we had not seen it and Picasso, amazed, looked at it
and then cried out, yes it is we who made it, that is cubism.’<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn20" name="_ftnref20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[20]</span></span><!--[endif]--></span></span></a> This
relationship was at its most apparent in the ‘dazzle ships’: Allied merchant
ships and destroyers painted in jagged patterns in an effort to confuse German
submarines. Edward Wadsworth, a Vorticist who had served with the Royal Navy
during the war, painted them brilliantly in 1918 in an official commission for
the Canadian Government. He successfully merged his interest in abstraction and
machinery in a remarkable tour de force.<o:p></o:p></span></div>
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<!--StartFragment--><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Félix Vallotton, <i>Verdun,
tableau de guerre interprété, projections colorées noires, bleues, terrains
dévastés, nuées de gaz </i>(1917), Musée de l’Armée, Paris</span><!--EndFragment-->
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<span style="line-height: 150%; text-indent: 36pt;">It was not simply modern artists who painted this new and utterly
novel war, however. Some from the older generation were also drawn to the war
as a subject – often as official war artists commissioned by their governments.
In France, Pierre Bonnard painted only a single, unfinished work of a ruined
village, whilst Félix Vallotton was at his best when he embraced the modernist
techniques of Cubism in the striking painting </span><i style="line-height: 150%; text-indent: 36pt;">Verdun, tableau de guerre interprété, projections colorées noires,
bleues, terrains dévastés, nuées de gaz </i><span style="line-height: 150%; text-indent: 36pt;">(1917). Possibly the best
interpretation of the war by an artist from this generation was John Singer
Sargent’s </span><i style="line-height: 150%; text-indent: 36pt;">Gassed</i><span style="line-height: 150%; text-indent: 36pt;"> (1918). Like a
number of major artists – including Augustus John, William Orpen and Percy
Wyndham Lewis, he had been commissioned by the British Government. Sargent’s
row of blinded British soldiers being guided to a dressing station is classical
in its conception, and bitter without being obvious or sentimental.</span><span style="line-height: 150%; text-indent: 36pt;"> </span><span style="line-height: 150%; text-indent: 36pt;">In 1919 it was included in an extensive
exhibition of official war art held at the Royal Academy in London. </span><i style="line-height: 150%; text-indent: 36pt;">The Times</i><span style="line-height: 150%; text-indent: 36pt;"> described it as ‘Art’s Fresh
Start’, for they too saw the Great War as having belonged to youth. ‘These
young men have fought for us; now they shall paint for us, what they have seen,
as they have felt it.’</span><a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftn21" name="_ftnref21" style="line-height: 150%; text-indent: 36pt;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[21]</span></span></span></a></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> R.W. Flint (ed.),
<i style="mso-bidi-font-style: normal;">Marinetti: Selected Writings</i> (London:
Secker and Warburg, 1972), 42.<o:p></o:p></span></div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> Quoted in Harvey
(1998), 108.<o:p></o:p></span></div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> PN to Emily
Bottomley, October 1914, <i style="mso-bidi-font-style: normal;">Letters</i>,, 76<o:p></o:p></span></div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> Percy Wyndham
Lewis, <i style="mso-bidi-font-style: normal;">Blasting and Bombardiering</i>
(London: Calder and Boyars, 1937), 108-09.<o:p></o:p></span></div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> ‘Vortex
Gaudier-Brzeska’, <i style="mso-bidi-font-style: normal;">BLAST: War Number</i>,
July 1915.<o:p></o:p></span></div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[6]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> Harvey (1998),
107.<o:p></o:p></span></div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[7]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> Quoted in Cork
(1994), 43.<o:p></o:p></span></div>
</div>
<div id="ftn8" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[8]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> Quoted in Cork
(1994), 43.<o:p></o:p></span></div>
</div>
<div id="ftn9" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[9]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> Quoted in Cork
(1994), 93.<o:p></o:p></span></div>
</div>
<div id="ftn10" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[10]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> Quoted in Cork
(1994), 109.<o:p></o:p></span></div>
</div>
<div id="ftn11" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[11]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> Nevinson (1937),
71—2; H. Nevinson, Eng. Misc. e.618/3, November 1914.<o:p></o:p></span></div>
</div>
<div id="ftn12" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[12]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> Nevinson (1937),
74; H. Nevinson, Eng. Misc. e.618/3, 14 November 1914.<o:p></o:p></span></div>
</div>
<div id="ftn13" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[13]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> C. Lewis Hind,<i style="mso-bidi-font-style: normal;"> The Daily Chronicle</i>, 30 September 1916.<o:p></o:p></span></div>
</div>
<div id="ftn14" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[14]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> <i style="mso-bidi-font-style: normal;">The Burlington Magazine</i>, April 1916.<o:p></o:p></span></div>
</div>
<div id="ftn15" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref15" name="_ftn15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[15]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> <i style="mso-bidi-font-style: normal;">The Manchester Guardian</i>, 27 September
1916<o:p></o:p></span></div>
</div>
<div id="ftn16" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref16" name="_ftn16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[16]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> Ernst Jünger, <i style="mso-bidi-font-style: normal;">Der Arbeiter</i> (1932), quoted in Eberle
(1985), 9.<o:p></o:p></span></div>
</div>
<div id="ftn17" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref17" name="_ftn17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[17]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> Henri Barbusse, <i style="mso-bidi-font-style: normal;">Lettres de Henri Barbusse à sa femme,
1914-1917</i> (Paris, 1937), quoted in Arthur Marwick ‘The Great War in print
and paint: Henri Barbusse and Fernand Léger,’ <i>Journal of Contemporary History </i>37/4
(2002), 513.<o:p></o:p></span></div>
</div>
<div id="ftn18" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref18" name="_ftn18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[18]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> Paul Nash, letter
to his wife, November 1917, Tate Gallery Archive.<o:p></o:p></span></div>
</div>
<div id="ftn19" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref19" name="_ftn19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[19]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> <i style="mso-bidi-font-style: normal;">The Times</i>, 25 May 1918.<o:p></o:p></span></div>
</div>
<div id="ftn20" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref20" name="_ftn20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[20]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> Gertrude Stein, <i style="mso-bidi-font-style: normal;">Picasso</i> (1938).<o:p></o:p></span></div>
</div>
<div id="ftn21" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7075226537192406884#_ftnref21" name="_ftn21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Arial; font-size: 9.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[21]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 9.0pt; mso-bidi-font-size: 12.0pt;"> <i style="mso-bidi-font-style: normal;">The Times</i>, 12 December 1919.<o:p></o:p></span></div>
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David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0tag:blogger.com,1999:blog-7075226537192406884.post-44829066816581068382014-05-23T13:11:00.001+01:002016-01-29T12:37:48.070+00:00Paul Nash on my mind<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh643D_Y93zq0ohpS2j-M-do6-43KtzJci4tLnVHUEvWuPQOL5UIDRxEejJqjkOw46zf-EJxqyW3P9tcfcOLQkxSv0jSGApQRF-yOyv3Psrr528HRIbOnYa_Qs9PkS1-FlPZ88x3IyvJzA/s1600/Nash+-+A+Farm,+Wytschaete+(1917),+Charles+Asprey.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh643D_Y93zq0ohpS2j-M-do6-43KtzJci4tLnVHUEvWuPQOL5UIDRxEejJqjkOw46zf-EJxqyW3P9tcfcOLQkxSv0jSGApQRF-yOyv3Psrr528HRIbOnYa_Qs9PkS1-FlPZ88x3IyvJzA/s640/Nash+-+A+Farm,+Wytschaete+(1917),+Charles+Asprey.jpg" width="640" /></a></span></div>
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<span style="font-size: x-small;">Paul Nash, 'A Farm, Wytschaete' (1917), private collection</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I am thinking a lot about Paul Nash at the moment. I first saw his iconic painting, 'We Are Making a New World' (1918), when I was about 16 or 17. That's what first got me interested in twentieth-century British art, and that's how I eventually came to write a short biography of Nash for Tate - and how I then got the idea for my 2009 book, <i>A Crisis of Brilliance</i>. Nash made this drawing, 'A Farm, Wytschaete', in the Ypres Salient, on the Western Front, in November or December 1917. It's going to be in an exhibition I am curating at the Piano Nobile Gallery in Holland Park, London, in October this year (2014).</span></div>
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<span style="line-height: 150%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">On 16 November 1917, a day
after he was ‘damn nearly killed’ by German shellfire, Nash wrote a now well-known letter to his wife, recording his
impressions:<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"I
have seen the most frightful nightmare of a country more conceived by Dante or
Poe than by nature, unspeakable, utterly indescribable. In the fifteen drawings
I have made I may give you some vague idea of the horror, but only being in it
can ever make you sensible of its dreadful nature and of what our men in France
have to face. We all have a vague notion of the terrors of a battle ... but no
pen or drawing can convey this country — the normal setting of the battles
taking place day and night, month after month. Evil and the incarnate fiend
alone can be master of this war, and no glimmer of God’s hand is seen anywhere.
Sunset and sunrise are blasphemous, they are mockeries to man, only the black
rain out of the bruised and swollen clouds all through the bitter black of
night is fit atmosphere in such a land. The rain drives on, the stinking mud
becomes more evilly yellow, the shell holes fill up with green-white water, the
roads and tracks are covered in inches of slime, the black dying trees ooze and
sweat and the shells never cease. They alone plunge overhead, tearing away the
rotting tree stumps, breaking the plank roads, striking down horses and mules,
annihilating, maiming, maddening, they plunge into the grave which is this
land; one huge grave and cast up on it the poor dead. It is unspeakable,
godless, hopeless. I am no longer an artist interested and curious, I am a
messenger who will bring back word from the men who are fighting to those who
want the war to go on forever. Feeble, inarticulate, will be my message, but it
will have a bitter truth, and may it burn their lousy souls."<!--EndFragment--></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This and other works like it (including 'New World') were exhibited in London in May 1918. T</span><span style="font-family: "arial";">he novelist Arnold Bennett wrote </span><span style="font-family: "arial" , "helvetica" , sans-serif;">an</span><span style="font-family: "arial";"> ‘Introductory Note’ to the brief catalogue. He set out clearly what made them so successful, so powerful: ‘Lieutenant Nash has seen the Front simply and largely. He has found the essentials of it – that is to say, disfigurement, danger, desolation, ruin, chaos – and little figures of men creeping devotedly and tragically over the waste. The convention he uses is ruthlessly selective. The wave-like formation of shell-holes, the curves of shell-bursts, the straight lines and sharply-defined angles of wooden causeways, decapitated trees, the fangs of obdurate masonry, the weight of heavy skies, the human pawns of battle, - these things are repeated again and again, monotonously, endlessly. The artist cannot get away from them. They obsess him, and they obsess him because they are the obsession of trench-life. … They seem to me to have been done in a kind of rational and dignified rage, in a restrained passion of resentment at the spectacle of what men suffer, in a fierce determination to transmit to the beholder the full true horror of war. They are in an extreme degree educational; they are bound to educate everybody who sees them – statesmen, diplomatists, newspaper-readers, parents at home who can make nothing out of their sons’ hasty scrawls from the Front. But they are more than educational. Their supreme achievement is that in their somber and dreadful savagery they are beautiful. They give pleasure. We want to carry them away and possess them.’</span></div>
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<span style="font-size: x-small;">Paul Nash, 29 April 1918, National Portrait Gallery</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The exhibition was well received. </span><span style="font-family: "arial";">‘Mr
Nash’s is an agonized vision’, wrote the anonymous reviewer for <i>The New
Statesman</i>. ‘He seems to feel in himself the cruelties wreaked on the landscape,
the wounds of the amputated trees … the torn wire entanglements writhe on their
posts in the pitted ground like symbols of fantastic torment.’ John Rothenstein, the post World War Two Director of the Tate, would write in 1957, </span><span style="font-family: "arial";">‘I
know of no works of art made by any artist working there who saw the splendours
and miseries of the greatest of all theatres of war so grandly. Out of infinite
horror he distilled a new poetry.’ The best of them, Rothenstein predicted, ‘will take their
place among the finest imaginative works of our time’.</span></div>
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<br />David Boyd Haycockhttp://www.blogger.com/profile/15560059643306348801noreply@blogger.com0