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細節
Christopher Richard Wynne Nevinson (1889-1946)
Returning to the trenches (Leicester Galleries 1)
drypoint printed with tone, 1916, on laid paper, a rich, tonal impression with burr, signed and dated in pencil within the plate mark, from the edition of 75, with margins, very pale light- and mount-staining, otherwise in good condition, framed
P. 151 x 202mm., S. 217 x 283mm.
Returning to the trenches (Leicester Galleries 1)
drypoint printed with tone, 1916, on laid paper, a rich, tonal impression with burr, signed and dated in pencil within the plate mark, from the edition of 75, with margins, very pale light- and mount-staining, otherwise in good condition, framed
P. 151 x 202mm., S. 217 x 283mm.
來源
Reba and Dave Williams.
Sotheby's London, 8 November 2001, lot 209.
Aquired at the above sale by the present owner.
Sotheby's London, 8 November 2001, lot 209.
Aquired at the above sale by the present owner.
出版
Nash and Nevinson in War and Peace: The Graphic Work 1914-1920, The Leicester Galleries, London, 1977
注意事項
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更多詳情
Although Nevinson accepted Futurist principles, and was indeed author of the 'English Futurist Manifesto', he never agreed with its tenet, 'We glorify war, which for us is the only hygiene of the world'. In 'Returning to the Trenches' instead of revelling in this 'glory', Nevinson combines cubist and futurist techniques to portray man as a mere extension of the war machine and thus part of an impersonal and inglorious affair. The group of individuals become a collective 'dynamic' force marching in relentless uniformity, emotionally detached from the metronomic routines of war. After being appointed an official war artist in 1917, Nevinson's art gradually turned towards realism as he found cubo-futurist techniques wholly inadequate to accurately portray the true horrors of war.