Christopher Richard Wynne Nevinson (1889 – 1946) was an English figure and landscape painter, etcher and lithographer, who was one of the most famous war artists of World War I. He is often referred to by his initials C. R. W. Nevinson, and was also known as Richard.
Nevinson studied at the Slade School of Art under Henry Tonks and alongside Stanley Spencer and Mark Gertler. When he left the Slade, Nevinson befriended Marinetti, the leader of the Italian Futurists, and the radical writer and artist Wyndham Lewis, who founded the short-lived Rebel Art Centre. However, Nevinson fell out with Lewis and the other 'rebel' artists when he attached their names to the Futurist movement. Lewis immediately founded the Vorticists, an avant garde group of artists and writers from which Nevinson was excluded.
At the outbreak of World War I, Nevinson joined the Friends' Ambulance Unit and was deeply disturbed by his work tending wounded French and British soldiers. For a very brief period he served as a volunteer ambulance driver before ill health forced his return to Britain. Subsequently, Nevinson volunteered for home service with the Royal Army Medical Corps. He used these experiences as the subject matter for a series of powerful paintings which used the machine aesthetic of Futurism and the influence of Cubism to great effect. His fellow artist Walter Sickert wrote at the time that Nevinson's painting La Mitrailleuse, 'will probably remain the most authoritative and concentrated utterance on the war in the history of painting.' In 1917, Nevinson was appointed an official war artist, but he was no longer finding Modernist styles adequate for describing the horrors of modern war, and he increasingly painted in a more realistic manner. Nevinson's later World War One paintings, based on short visits to the Western Front, lacked the same powerful effect as those earlier works which had helped to make him one of the most famous young artists working in England.
Shortly after the end of the war, Nevinson travelled to the United States of America, where he painted a number of powerful images of New York. However, his boasting and exaggerated claims of his war experiences, together with his depressive and temperamental personality, made him many enemies in both the USA and Britain.
© 2019. All images are copyrighted © by Christopher Richard Wynne Nevinson or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only.
Nevinson studied at the Slade School of Art under Henry Tonks and alongside Stanley Spencer and Mark Gertler. When he left the Slade, Nevinson befriended Marinetti, the leader of the Italian Futurists, and the radical writer and artist Wyndham Lewis, who founded the short-lived Rebel Art Centre. However, Nevinson fell out with Lewis and the other 'rebel' artists when he attached their names to the Futurist movement. Lewis immediately founded the Vorticists, an avant garde group of artists and writers from which Nevinson was excluded.
At the outbreak of World War I, Nevinson joined the Friends' Ambulance Unit and was deeply disturbed by his work tending wounded French and British soldiers. For a very brief period he served as a volunteer ambulance driver before ill health forced his return to Britain. Subsequently, Nevinson volunteered for home service with the Royal Army Medical Corps. He used these experiences as the subject matter for a series of powerful paintings which used the machine aesthetic of Futurism and the influence of Cubism to great effect. His fellow artist Walter Sickert wrote at the time that Nevinson's painting La Mitrailleuse, 'will probably remain the most authoritative and concentrated utterance on the war in the history of painting.' In 1917, Nevinson was appointed an official war artist, but he was no longer finding Modernist styles adequate for describing the horrors of modern war, and he increasingly painted in a more realistic manner. Nevinson's later World War One paintings, based on short visits to the Western Front, lacked the same powerful effect as those earlier works which had helped to make him one of the most famous young artists working in England.
Shortly after the end of the war, Nevinson travelled to the United States of America, where he painted a number of powerful images of New York. However, his boasting and exaggerated claims of his war experiences, together with his depressive and temperamental personality, made him many enemies in both the USA and Britain.
© 2019. All images are copyrighted © by Christopher Richard Wynne Nevinson or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only.
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| 1911, Self-Portrait |
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| 1912, The Towpath |
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| 1913, Le vieux port |
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| 1913. The Arrival |
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| 1914-15, Study for ‘Returning to the Trenches" |
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| 1915, Column on the March |
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| 1915, La Mitrailleuse |
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| 1915, Pursuing a Taube |
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| 1916, A Star Shell |
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| 1916, A Taube |
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| 1916, Dog Tired |
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| 1916, La patrie |
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| 1916, Searchlights |
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| 1916, Southampton |
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| 1916, Troops resting |
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| 1916, Ypres after the First Bombardment |
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| 1917, A Group of Soldiers |
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| 1917, A Howitzer Gun in Elevation |
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| 1917, Acetylene Welding |
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| 1917, Assembling Parts |
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| 1917, Banking at 4000 Feet |
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| 1917, In the Air |
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| 1917, Loading Timber at Southampton Docks |
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| 1917, Making the Engine |
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| 1917, Night Raid |
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| 1917, Sweeping Down on a Taube |
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| 1917, The Road from Arras to Bapaume |
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| 1917-18, Survivors at Arras |
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| 1918, A Front Line near St Quentin |
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| 1918, After the Recapture of Bapaume, France |
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| 1918-19, Venetian Twilight |
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| 1919, The Harvest of Battle |
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| 1920, The Soul of the Soulless City (‘New York - an Abstraction’) |
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| 1920, View of Lower Manhattan |
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| 1923-24, Fitzroy Square |
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| 1924, Victoria Embankment, London |
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| 1925, A Boulogne Window |
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| 1926, A Winter Landscape |
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| 1927, Blackfriars Bridge, London |
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| 1927, Welsh Hills |
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| 1928, London, Winter |
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| 1930, Amongst the Nerves of the World |
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| 1930, Any Wintry Afternoon in England |
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| 1930, View on the Thames (Tower Bridge from the Pool of London) |
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| 1931, Barges on the Thames |
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| 1932-35, Twentieth Century |
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| 1937, The Strand by Night |
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| 1938, The Thames at Southwark, London |
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| 1940, French Landscape |
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| 1940, March of Civilisation |
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| 1941, Thameside |
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| 1942, Battlefields of Britain |
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| 1944, A River in England |
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