Arte!: October 2013

Tuesday, October 29, 2013

Christopher Richard Wynne Nevinson (British, 1889–1946)

Returning to the Trenches, 1914-15

Nevinson’s early work during the war is typical of Futurist attitude to conflict: the movement, primarily made up of Italians, (Nevinson was one of the only British artists involved), strongly supported and promoted war as a form of status, power and positive human development. Nevinson’s later war work became much more emotionally charged and sympathetic towards wounded soldiers in undesirable hospital conditions.

The First Searchlights at Charing Cross, 1914

Flooded Trench on the Yser, 1916

Torcello, Venice

Christopher Richard Wynne Nevinson (1889–1946) was an English figure and landscape painter, etcher, and lithographer. He gained prominence as one of the most famous war artists during World War I. Often referred to by his initials C. R. W. Nevinson, he was also known as Richard.

Early Life: Nevinson was born in London on August 13, 1889. His parents were the journalist and war correspondent Henry Nevinson and the writer Margaret Nevinson, a staunch advocate for women’s suffrage. He attended the Slade School of Fine Art at the University College London, where he studied alongside notable artists like Mark Gertler, Stanley Spencer, Paul Nash, and Dora Carrington.
Artistic Influences: Nevinson was deeply impressed by the work of Welsh artist Augustus John. His artistic journey led him to Paris, where he encountered Italian painters Amedeo Modigliani and Gino Severini. He also explored cubism through the influence of Pablo Picasso.
War Art: When World War I erupted, Nevinson, a committed pacifist and conscientious objector, initially refused to enlist. However, he eventually joined the Royal Army Medical Corps and served as an ambulance driver. His war experiences profoundly influenced his art. Nevinson’s war paintings, such as “A Group of Soldiers” (1917), captured the grim realities of the conflict.
Futurism and Conflict: Nevinson’s involvement with the futurist movement led to clashes with other artists. He co-authored the manifesto “Vital English Art” with Filippo Tommaso Marinetti, championing futurism as the true avant-garde movement. This stance caused tensions with fellow artists, including Wyndham Lewis.
Legacy: Nevinson’s powerful war imagery remains iconic. His use of angular lines and dynamic compositions conveyed the chaos and brutality of battle. Beyond war art, he also produced landscapes, portraits, and cityscapes. His legacy endures as a testament to the impact of war on artistic expression.