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拍品专文
Christopher Richard Wynne Nevinson's fame rests primarily on the pictures he executed in his capacity as an Official War Artist during the First World War. He was also a painter of landscapes, domestic interiors, portraits and flower studies, and was an accomplished etcher and engraver.
He trained at the St. John's Wood School, the Slade (where he was completely discouraged by Professor Tonks), and went to Paris where he shared a studio with Modigliani and continued his studies at the Académie Julian and the Cercle Russe. Nevinson is seen to be leading figure of the pre-1914 avant-garde and his artistic talent and ideas rapidly developed leading him to become a co-signatory of the Futurist Manifesto along with his friend, Filippo Marinetti.
With the outbreak of the First World War, Nevinson enlisted as an ambulance driver attached to the French Army and served with the R.A.M.C. The paintings, drawings and prints he made from his battlefield notes brought him recognition and he became one of the first Official War Artists. When the war ended, he resumed the subject matter of his former years, depicting scenes of London and Paris, including street life, café society, urban landscapes and industrial canals. He exhibited with the New English Art Club, the Friday Club, the Allied Artist's Association, was a founder member of the London Group in 1913, and held his first one-man show of war paintings at the Leicester Galleries in 1916.
Nevinson went to New York in 1919 and was inspired by the architecture of Manhattan, appreciating the sky-scrapers both for their dramatic beauty and as symbols of a new age. The 1920s was Nevinson's most productive period as an artist and the mid-1920s saw English landscapes succeeding the sky-scrapers as his primary subject matter. The 'poetic-realism' that imbues his work of this period, recalls his pre-war post-impressionism. Nevinson built a mobile studio for his plein-air painting expeditions. As David Cohen comments Whistler is the obvious forebearer of Nevinson's work in mood, atmosphere and subject, even though Nevinson clearly disliked him, claiming 'he had good ideas but could not paint' (see D. Cohen, The Rising City, catalogue for the exhibition at the Imperial War Museum, London, 1999, p. 49).
Throughout his life, Nevinson was a prolific writer, contributing articles to the national press on a regular basis. He published his autobiography Paint and Prejudice in 1937 and when the Second World War broke out, he returned to painting war subjects up until his death in 1946.
He trained at the St. John's Wood School, the Slade (where he was completely discouraged by Professor Tonks), and went to Paris where he shared a studio with Modigliani and continued his studies at the Académie Julian and the Cercle Russe. Nevinson is seen to be leading figure of the pre-1914 avant-garde and his artistic talent and ideas rapidly developed leading him to become a co-signatory of the Futurist Manifesto along with his friend, Filippo Marinetti.
With the outbreak of the First World War, Nevinson enlisted as an ambulance driver attached to the French Army and served with the R.A.M.C. The paintings, drawings and prints he made from his battlefield notes brought him recognition and he became one of the first Official War Artists. When the war ended, he resumed the subject matter of his former years, depicting scenes of London and Paris, including street life, café society, urban landscapes and industrial canals. He exhibited with the New English Art Club, the Friday Club, the Allied Artist's Association, was a founder member of the London Group in 1913, and held his first one-man show of war paintings at the Leicester Galleries in 1916.
Nevinson went to New York in 1919 and was inspired by the architecture of Manhattan, appreciating the sky-scrapers both for their dramatic beauty and as symbols of a new age. The 1920s was Nevinson's most productive period as an artist and the mid-1920s saw English landscapes succeeding the sky-scrapers as his primary subject matter. The 'poetic-realism' that imbues his work of this period, recalls his pre-war post-impressionism. Nevinson built a mobile studio for his plein-air painting expeditions. As David Cohen comments Whistler is the obvious forebearer of Nevinson's work in mood, atmosphere and subject, even though Nevinson clearly disliked him, claiming 'he had good ideas but could not paint' (see D. Cohen, The Rising City, catalogue for the exhibition at the Imperial War Museum, London, 1999, p. 49).
Throughout his life, Nevinson was a prolific writer, contributing articles to the national press on a regular basis. He published his autobiography Paint and Prejudice in 1937 and when the Second World War broke out, he returned to painting war subjects up until his death in 1946.