C.R.W Nevinson ARA, British (1889 – 1946)
Isle of dogs
Medium: Oil on canvas
Framed size: 21 x 25 Inches
Unframed size: 16 x 20 Inches
Signature: Signed (Lower Right)
Provenance:
Private collection, United Kingdom
In stock
C.R.W Nevinson ARA, British (1889 – 1946)
Isle of dogs
Medium: Oil on canvas
Framed size: 21 x 25 Inches
Unframed size: 16 x 20 Inches
Signature: Signed (Lower Right)
Provenance:
Private collection, United Kingdom
Christopher Richard Wynne Nevinson (13 August 1889 – 7 October 1946) was an English figure and landscape painter, etcher and lithographer, who was one of the most famous war artists of World War I. He is often referred to by his initials C. R. W. Nevinson, and was also known as Richard.
Nevinson studied at the Slade School of Art under Henry Tonks and alongside Stanley Spencer and Mark Gertler. When he left the Slade, Nevinson befriended Marinetti, the leader of the Italian Futurists, and the radical writer and artist Wyndham Lewis, who founded the short-lived Rebel Art Centre. However, Nevinson fell out with Lewis and the other ‘rebel’ artists when he attached their names to the Futurist movement. Lewis immediately founded the Vorticists, an avant garde group of artists and writers from which Nevinson was excluded.
At the outbreak of World War I, Nevinson joined the Friends’ Ambulance Unit and was deeply disturbed by his work tending wounded French and British soldiers. For a very brief period he served as a volunteer ambulance driver before ill health forced his return to Britain. Subsequently, Nevinson volunteered for home service with the Royal Army Medical Corps.
Shortly after the end of the war, Nevinson travelled to the United States of America, where he painted a number of powerful images of New York. However, his boasting and exaggerated claims of his war experiences, together with his depressive and temperamental personality, made him many enemies in both the US and Britain. In 1920, the critic Charles Lewis Hind wrote of Nevinson that ‘It is something, at the age of thirty one, to be among the most discussed, most successful, most promising, most admired and most hated British artists.’ His post-war career, however, was not so distinguished. Nevinson’s 1937 memoir Paint and Prejudice, although lively and colourful, is in parts inaccurate, inconsistent, and misleading.