#christopher r. w. nevinson

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Christopher R. W. Nevinson - Zillah of the Hambone (1935)

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Group of Soldiers (1917)

C. R. W. Nevinson (1889-1946) English

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Winter Landscape (1926)

By C.R.W. Nevinson (1889-1946) British

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Christopher Richard Wynne Nevinson, The Unending Cult of Human Sacrifice, 1934

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Christopher Richard Wynne Nevinson (British, 1889-1946), London Triumphant in the Fourth Year of the War: From the Dorchester Roof, Looking South-West, 1941. Pencil and oil on panel, 11 7/8 x 18 in.

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C.R.W. Nevinson.

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Christopher Richard Wynne Nevinson (1889 - 1946) ARA 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.

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Artist: Christopher R. W. Nevinson

Illustration

Painting

Digital/Photorealistic

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Christopher Richard Wynne Nevinson ARA (1889 –1946)  English figurative and landscape painter, etcher and lithographer, one of the most famous war artists of World War I. He is often referred to by his initials C. R. W. Nevinson,

Title: The Old Port

Artist: Christopher Richard Wynne Nevinson

Date: 1913

Style: Cubism, Futurism

Genre: Cityscape

[uwmspeccoll]

Staff Pick of the Week

My staff pick for this week are the black-and-white Vorticist images found in the war issue of British writer and artist Wyndham Lewis’s early 20th-century modernist magazine Blast. I have always been drawn to these images. There were only two issues of Blast, one on July 2, 1914 and the second, this war issue, on July 15, 1915. Today these issues are quite scarce. Unfortunately we don’t hold the original printing, but we do hold the deluxe edition of the 1981 reprint printed by the American printer and book designer Graham Mackintosh for Black Sparrow Press and hardbound in an edition of 276 copies by Earle Gray.

Influenced by Cubism and set in opposition to Futurism, Vorticist artists worked in a geometric style that tended towards a hard-edged abstraction. Blast was Vorticism’s manifesto and the black & white images in Blast 2 really showcase that hard-edged expression. Besides Lewis himself, the other English Vorticists shown here are Frederick Etchells, Helen Sanders (or Saunders), Edward Wadsworth, William Roberts, and Christopher R. W. Nevinson.

This edition notes that:

The second number of BLAST was crudely typeset and letterpressed at minimum expense by a London job printer. However the bold rough-hewn type, broken letters and uneven inking only add to the powerful typographical effect. The present publisher has chosen not to clean up or refine the original version in any way.

The same can be said about the reproduction of the images, which I also appreciate.

View more of our Staff Picks.

-- MAX, Head of Special Collections

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Christopher R. W. Nevinson - Portrait of Edith Sitwell (1927)

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Returning to the Trenches (1916)

Christopher Nevinson (1889-1946) English

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Christopher Richard Wynne Nevinson (British, 1889-1946)

Lovers (Black 62), 1919

Drypoint

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Making the Engine, Christopher R. W. Nevinson, 1917

Lithograph 40.3 x 30.1 cm (15 ⅞ x 11 ⅞ in.)

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O morto

“o corpo do morto crescia no quarto até rebentar as paredes, alastrar pela areia, alcançar a mata em busca do eco do tiro que o tocou, o helicóptero transportou-o para Gago Coutinho como quem varre lixo vergonhoso para debaixo de um tapete, morre-se mais nas estradas de Portugal do que na guerra de África, baixas insignificantes e adeus até ao meu regresso”

 António Lobo Antunes, “Os Cus de Judas”; pintura de Christopher R. W. Nevinson.

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Christopher Richard Wynne Nevinson (British, 1889-1946), A Mule Team, between September 1917-March 1918. Oil on canvas laid on board, 25 x 30 in.