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611:, and then spent seven months in his Hampstead studio working up his sketches from the Front into finished pieces. A number of officials from the Department of Information visited the studio and soon began complaining about these new works. Nevinson was now focused on individuals, either as people displaying heroic qualities or as victims of warfare. He did this by painting in a realistic manner using a limited colour palette, sometimes only mud-brown or khaki. Whereas for his 1916 exhibition Nevinson had displayed both realistic works and pieces using Cubist and Futurist techniques, for his 1918 exhibition all the works were realistic in style and composition.
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417:, mostly working at a disused goods shed by Dunkirk rail station known as the Shambles. The Shambles housed some three thousand badly wounded French troops, who had been evacuated from the Front and then all but abandoned. For weeks they had been left unfed and untended with the dead and dying lying together on dirty straw. Nevinson, alongside his father and other volunteers, worked to dress wounds, help clean and disinfect the shed and started to make it habitable. Nevinson later depicted his experiences in The Shambles in two paintings,
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657:. He was offered an honorary commission as a Second Lieutenant but refused, fearing it would prejudice his medical exemption from combat duties. A short visit over a long weekend to the Western Front was arranged but without a commission Nevinson had to be accompanied wherever he went and his movements were restricted. Nevinson quickly fell out with the Army minder assigned to him in France, and claimed he was refused permission to visit the casualty stations he wanted to sketch in.
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889:. Shortly afterwards a stroke paralysed his right hand and caused a speech impediment. He applied for a junior clerical post with WAAC and was refused. Nevinson taught himself to paint with his left hand and had three pictures shown at the Royal Academy in the summer of 1946. He attended that exhibition, with the assistance of his wife Kathleen, in a wheelchair but died a few months later aged fifty-seven.
630:, Nevinson's painting of two fallen British soldiers in a field of mud and barbed wire. Told at the beginning of 1918 that the painting would not be passed for exhibition Nevinson insisted on displaying it with a brown strip of paper across it, with the word 'Censored' scrawled on it. This earned Nevinson a reprimand not just for displaying the painting but using the word 'Censored' without authorisation.
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296:. Gertler was, for a time, his closest friend and influence, and they formed for a short while a group known as the Neo-Primitives, being deeply influenced by the art of the early Renaissance. Gertler and Nevinson subsequently fell out when they both fell in love with Carrington. Whilst at the Slade, Nevinson was advised by the Professor of Drawing,
852:, WAAC, and appointed Kenneth Clark as its chairman. Despite the public hostility between Clark and himself, Nevinson was disappointed not to be offered a commission by WAAC. He submitted three paintings to WAAC in December 1940 which were also rejected. He worked as a stretcher-bearer in London throughout
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observed in his catalogue introduction to an exhibition of
Nevinson's recent work: '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.' In September 1920, Nevinson designed a poster for a production,
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in Prague in 1919. Nevinson first visited New York in May 1919 and spent a month there while his World War One prints were being shown, to great acclaim, at the
Frederick Keppel & Co gallery. A second exhibition at the same venue in October 1920 was poorly received. This led to Nevinson becoming
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Nevinson was furious to find it had not been hung in the main room but rather in a side gallery. He began a campaign of vilification against all those he held responsible for this insult. Unreasonable as
Nevinsons' outrage was it did have consequences; it destroyed his friendship with Muirhead Bone,
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on the grounds that "the type of man represented is not worthy of the
British Army". Amid the sarcasm and vitriol of Nevinson's response, he did make the point that the soldiers in the painting were sketched from a group home on leave from the Front that he had encountered on the London Underground.
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denounced the "passéiste filth" of the London art scene, declared
Futurism as the only way of representing the modern, machine age and proclaimed its role in the vanguard of British art. Lewis was offended that Nevinson had attached the name of the Rebel Arts Centre to the manifesto without asking
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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
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Nevinson used his experiences in France and at the London
General Hospital as the subject matter for a series of powerful paintings which used Futurist and Cubist techniques, as well as more realistic depictions, to great effect. In March 1916 he exhibited his painting
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which was the largest single work
Nevinson painted. It was completed in February 1919 and Nevinson arranged a 'private view' of the painting in his studio on 2 April for numerous critics and journalists. Whilst this produced some favourable reviews, notably in the
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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
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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
300:, to abandon thoughts of an artistic career. This led to a lifelong bitterness between the two, and frequent accusations by Nevinson, who had something of a persecution complex, that Tonks was behind several imagined conspiracies against him.
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Not only did the Department of Information art advisors consider these new works dull, but the War Office censors also objected to three of the paintings. Nevinson was quite happy to reverse the direction of traffic in the painting
206:, 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
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artists had painted in the city before World War One. In May 1919, while Nevinson was in America, Kathleen Nevinson gave birth to a baby son, but the child died shortly later and before his father could return to Britain.
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and came under anti-aircraft fire. He spent a night in an observation balloon above the Somme. Making his way to a forward post one day he was pinned down by enemy fire for an hour. An unauthorised visit to the
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who had been on the organising committee for the exhibition, made the Imperial War Museum wary of dealing with him, and blinded Nevinson himself to the high esteem in which his war paintings were held.
160:, 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
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Nevinson's boasting and exaggerated claims concerning his war experiences, together with his depressive and temperamental personality, made him many enemies in both the US and Britain.
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received the most attention and greatest praise in reviews of the show. After his father received assurances that he would not be posted abroad, Nevinson enlisted as a private in the
1917:
819:, then the Director of the National Gallery, made some comments on these lines and, in return, Nevinson became a fierce critic of Clark. Nevinson was awarded the Chevalier of the
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While on the trip, he did sketch a line of walking wounded, and some prisoners making their way to the rear from an early morning offensive. This became the basis of the painting
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to meet, and unload, the hospital trains arriving from France and for a while he worked on a ward for mental patients. Nevinson married Kathleen Knowlman on 1 November 1915 at
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and spent the rest of 1915 working at the Third London General Hospital in Wandsworth. Despite its name, the 3rd LGH was a specialist centre for the treatment of both
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used futurist devices to attack Fascism and Nazism. He also produced large historic allegories which were considered inferior to his World War One paintings.
803:. His post-war work generally included landscapes in a more naturalist style. A sunlit landscape design by Nevinson was among the winning entries in the 1933
202:, 'will probably remain the most authoritative and concentrated utterance on the war in the history of painting.' In 1917, Nevinson was appointed an official
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Throughout the 1930s Nevinson painted a number of cityscapes in London, Paris and New York which were generally well received. The most notable of these is
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579:, south of Caen. Although life at the Chateau allowed Nevinson to demonstrate his cocktail making skills to the other visitors, he soon transferred to the
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and severe facial injuries. Nevinson worked there as an orderly and as a labourer helping build roads and fit out new wards. Sometimes he would be sent to
121:(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
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669:, it also led to articles claiming that the painting was so grim that it was being withheld from the public. When the painting was shown at the huge
527:. Several famous writers and politicians visited the exhibition; it received extensive press coverage and Nevinson became something of a celebrity.
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in August 1942 and they also allowed him to fly in their planes to develop pictures of the air war. He presented a painting, a cloudscape entitled
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and, after a week-long honeymoon, he reported back to the RAMC but was invalided out of the service in January 1916 with acute rheumatic fever.
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to offer Nevinson a one-man show which was held in October 1916. The show was a critical and popular success and the works displayed all sold.
210:, 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.
811:'s for a series of chocolate box designs and which were displayed at the Leicester Galleries in London. His large painting of 1932 and 1933,
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375:, an avant garde group of artists and writers from which Nevinson was excluded, though he devised the title for the Vorticists' magazine,
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856:, during which his own studio and the family home in Hampstead were hit by bombs. WAAC eventually purchased two pictures from him,
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Nevinson had four pictures included in the Second Exhibition of the London Group held in March 1915. Nevinson's Futurist painting,
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587:. From there he moved widely along the Front, visiting forward observation posts and artillery batteries. He flew with the
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which showed bombs exploding around a crucifix. The image was deemed to be offensive and was banned from display on the
413:, which his father had helped to found. From 13 November 1914, Nevinson spent nine weeks in France with the FAU and the
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724:. Nevinson claimed to have been the first artist to depict New York in a modernist style but in fact several British
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761:. Nevinson distributed the poster outside the theatre and gained a great deal of press coverage in the process.
492:'will probably remain the most authoritative and concentrated utterance on the war in the history of painting.'
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A Dilemma of English Modernism: Visual and Verbal Politics in the Life and Work of C.R.W. Nevinson (1889–1946)
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When he returned to London in August 1917, Nevinson first completed six lithographs on the subject of
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358:. In June 1914 he published, in several British newspapers, with Marinetti, a manifesto for English
180:. He used these experiences as the subject matter for a series of powerful paintings which used the
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which showed a child killed in Dunkirk by a bomb thrown from a type of German plane known as a
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but was not prepared to compromise over the other two paintings. The censor objected to
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in Paris throughout 1912 and 1913 and also attended the Cercle Russe. In Paris, he met
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223:, although lively and colourful, is in parts inaccurate, inconsistent, and misleading.
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represented British culture at the celebrations of the first anniversary of the
164:, an avant garde group of artists and writers from which Nevinson was excluded.
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disillusioned with New York, to the extent he changed the name of his painting
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British Culture and the First World War: Experience, Representation and Memory
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354:, Nevinson also joined. In March 1914 he was among the founder members of the
346:. When Wyndham Lewis founded the short-lived Rebel Art Centre, which included
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earned Nevinson a reprimand and added to his reputation for recklessness.
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1867:"Luxury assortment: the British artists behind Cadbury's chocolate boxes"
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and his own father, Nevinson was appointed an official war artist by the
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with the Allied Artists Association at the Grafton Galleries. The artist
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from 5 July to 4 August 1917, a period which included the start of the
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342:. Back in London he became friends with the radical writer and artist
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from 1937. The same year, he illustrated the cover of the edition of
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A Crisis of Brilliance: Five Young British Artists and the Great War
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to produce a single large artwork for a proposed, but never built,
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1132:. Michael Joseph, The Imperial War Museum & the Tate Gallery.
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The War Artists, British Official War Art of the Twentieth Century
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At the start of World War Two the British Government created the
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In 1918, after some negotiation, Nevinson agreed to work for the
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him or anyone else in the group. Lewis immediately founded the
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War paint: Art, War, State and Identity in Britain, 1939–1945
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on 31 July. Nevinson was billeted with other visitors in the
567:. Wearing the uniform of a war correspondent, he visited the
248:. He was always known as Richard to his friends. Educated at
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A Terrible Beauty: British Artists in the First World War
331:, became acquainted with Cubism and also met the Italian
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was a particularly virulent critic. In 1920, the critic
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The Soul of the Soulless City (New York-an abstraction)
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The Fire of London, December 29th – An Historic Record
2001:
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The canvas was eventually passed for display. Not so
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Military personnel from the London Borough of Camden
1665:"First World War Art Archive, CRW Nevinson (Part 2)"
1519:"First World War Art Archive, CRW Nevinson (Part 1)"
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256:, which he hated, Nevinson went on to study at the
3281:People associated with the Friends' Ambulance Unit
1725:"Looking for solace: C.R.W. Nevinson and Futurism"
1722:
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898:1918 Nevinson, C.R.W. and Flitch, J.E. Crawford,
885:as a gift to the nation and which still hangs in
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315:After leaving the Slade, Nevinson studied at the
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1969:
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236:Christopher Richard Wynne Nevinson was born in
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148:. When he left the Slade, Nevinson befriended
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1214:Charles E. Doherty (1992). "Nevinson's Elegy:
214:both the US and Britain. In 1920, the critic
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1062:(online ed.). Oxford University Press.
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1490:The Great War: Britain's Efforts and Ideals
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1128:Merion Harries & Susie Harries (1983).
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196:wrote at the time that Nevinson's painting
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2063:108 artworks by or after C. R. W. Nevinson
1935:
1890:
1864:
1842:1001 Paintings You Must See Before You Die
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1747:
1693:
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1050:, revised by Sinead Agnew (October 2009).
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125:. He is often referred to by his initials
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3116:Estorick Collection of Modern Italian Art
2093:Works in the UK Government Art Collection
1995:
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1402:"Arts: A man who did well out of the war"
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823:in 1938 and was made an Associate of the
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869:Nevinson obtained a commission from the
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1570:"CRW Nevinson Painting: Paths of Glory"
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1059:Oxford Dictionary of National Biography
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1007:
862:and a depiction of a fire-bomb attack,
671:The Nation's War Paintings and Drawings
244:and the suffrage campaigner and writer
3226:Alumni of the Slade School of Fine Art
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2809:Futurist Painting: Technical Manifesto
2753:Drama in the Futurists' Cabaret No. 13
1963:
1909:
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3241:British Army personnel of World War I
2802:Dynamism of a Speeding Horse + Houses
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2042:C.R.W. Nevinson: The Complete Prints
1884:
1844:. Cassell Illustrated/Quintessence.
1723:Felicity MacKenzie (29 April 2019).
1304:
1207:
1146:
1090:"Christopher Richard Wynne Nevinson"
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873:to portray airmen preparing for the
272:. There his contemporaries included
156:, and the radical writer and artist
3286:People educated at Uppingham School
3231:Alumni of St John's Wood Art School
2907:Unique Forms of Continuity in Space
2044:. Farnham, Surrey. Lund Humphries.
1944:"War artists archive, CRW Nevinson"
1340:Study for Returning to the Trenches
1288:CRW Nevinson: This Cult of Violence
768:Cover of the 7 May 1937 edition of
559:In April 1917, with the support of
192:to great effect. His fellow artist
13:
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1400:Michael Glover (3 November 1999).
1316:Birmingham Museums and Art Gallery
990:. Old Street Publishing (London).
685:
389:
114:Christopher Richard Wynne Nevinson
55:Christopher Richard Wynne Nevinson
14:
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3296:Royal Army Medical Corps soldiers
3216:20th-century English male artists
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1815:Michael J. K. Walsh, ed. (2007).
917:. London. Grant Richards Limited.
795:, marking the Coronation of King
774:, marking the Coronation of King
260:. Inspired by seeing the work of
129:, and was also known as Richard.
2746:Development of a Bottle in Space
1819:. University of Delaware Press.
1568:Richard Slocombe (30 May 2014).
1367:
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384:
3251:Knights of the Legion of Honour
3236:Associates of the Royal Academy
2851:Manifesto of Futurist Musicians
2788:Dynamism of a Human Body: Boxer
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1716:
1538:
1455:Felten, Eric (6 October 2007).
1448:
892:
850:War Artists' Advisory Committee
651:British War Memorials Committee
2858:Mercury Passing Before the Sun
1840:Stephen Farthing, ed. (2006).
1232:10.1080/00043249.1992.10791554
1082:
634:Hall of Remembrance Commission
617:The Road from Arras to Bapaume
311:, drawn between 1914 and 1915.
1:
3211:20th-century English painters
2087:Royal Air Force Museum London
1789:Looking Down into Wall Street
1700:CRW Nevinson: Hanging a Rebel
1545:Allan Little (23 June 2014).
949:. Imperial War Museum. 2008.
932:
721:The Soul of the Soulless City
231:
42:1935 portrait of Nevinson by
3165:Verbovka Village Folk Centre
2781:Dynamism of a Dog on a Leash
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1865:Lucy Ellis (10 April 2020).
1155:The Oxford Dictionary of Art
1076:UK public library membership
947:Art from the First World War
673:exhibition organised by the
609:Britain's Efforts and Ideals
258:St John's Wood School of Art
226:
152:, the leader of the Italian
93:St John's Wood School of Art
7:
2879:The Street Enters the House
2795:Dynamism of a Soccer Player
2002:Government Art Collection.
1698:Michael J.K. Walsh (2008).
1457:"St. Louis – Party Central"
1286:Michael J.K. Walsh (2002).
1183:Government Art Collection.
1157:. Oxford University Press.
879:The Battlefields of Britain
264:, he decided to attend the
16:English painter (1889–1946)
10:
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3256:English landscape painters
2657:Italian futurism in cinema
2218:Francesco Balilla Pratella
1428:Roger Tolson (July 2006).
926:Harcourt Brace and Company
909:1917 Nevinson, C.R.W. and
900:The Great War: Fourth Year
711:Republic of Czechoslovakia
80:Hampstead, London, England
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2830:The Hand of the Violinist
2823:Girl Running on a Balcony
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2334:Vladimir Baranoff-Rossine
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2012:Government Art Collection
1895:. Yale University Press.
1702:. The Lutterworth Press.
1488:Mari Gordon, ed. (2014).
1312:"Oil Painting – LaPatrie"
1290:. Yale University Press.
1262:. Bloomsbury Publishing.
1189:Government Art Collection
844:(1940) (Art.IWM ART LD14)
645:(1918) (Art.IWM ART 1921)
565:Department of Information
430:Returning to the Trenches
415:British Red Cross Society
309:Returning to the Trenches
270:University College London
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2599:Valentine de Saint-Point
2584:José de Almada Negreiros
1754:Toby Treves (May 2000).
1185:"CRW Nevinson in London"
697:(1917) (Art.IWM ART 519)
555:(1917) (Art.IWM ART 518)
542:(1917) (Art.IWM ART 520)
507:bought three paintings,
473:(1916) (Art.IWM ART 200)
444:Royal Army Medical Corps
401:(1916) (Art.IWM ART 725)
286:Maxwell Gordon Lightfoot
178:Royal Army Medical Corps
132:Nevinson studied at the
3271:British modern painters
2619:Frances Simpson Stevens
2614:Amadeo de Souza Cardoso
2006:Battlefields of Britain
1467:Dow Jones & Company
1462:The Wall Street Journal
920:1938 Nevinson, C.R.W.,
716:New York-an abstraction
607:portfolio of pictures,
573:Battle of Passchendaele
488:wrote at the time that
461:
411:Friends' Ambulance Unit
327:, shared a studio with
173:Friends' Ambulance Unit
3221:Académie Julian alumni
2959:Luisa, Marchesa Casati
2704:Abstract Speed + Sound
2638:Techniques, sub-genres
1974:Anti-aircraft Defences
1068:10.1093/ref:odnb/35206
1053:"Henry Woodd Nevinson"
1026:. Sansom and Company.
904:Grant Richards Limited
859:Anti-aircraft Defences
845:
841:Anti-aircraft Defences
782:
698:
646:
556:
543:
474:
409:, Nevinson joined the
402:
312:
171:, Nevinson joined the
3261:English male painters
3206:People from Hampstead
3160:Ukrainian avant-garde
3138:Robert René Meyer-Sée
2844:Manifesto of Futurism
2774:Dynamism of a Cyclist
2662:Futurist architecture
2354:Kseniya Boguslavskaya
1970:Imperial War Museum.
1942:Imperial War Museum.
1922:Royal Academy of Arts
1663:Imperial War Museum.
1635:The Harvest of Battle
1631:Imperial War Museum.
1599:Imperial War Museum.
1517:Imperial War Museum.
1494:National Museum Wales
1258:Toby Thacker (2014).
1153:Ian Chilvers (2004).
838:
813:The Twentieth Century
767:
693:
662:The Harvest of Battle
643:The Harvest of Battle
641:
605:War Propaganda Bureau
581:4th Infantry Division
549:
538:
469:
397:
306:
188:and the influence of
3306:World War II artists
3276:Painters from London
2921:Victory over the Sun
2324:Alexander Archipenko
915:Modern War Paintings
701:Nevinson, alongside
677:in December 1919 at
432:, and the sculpture
3301:World War I artists
3291:Artists from London
3246:British war artists
3143:Russian avant-garde
2964:Gabriele D'Annunzio
2928:Vladimir Mayakovsky
2865:The Poem of the End
2672:Futurist literature
2479:Vadim Shershenevich
2449:Vladimir Mayakovsky
2409:Aleksei Kruchyonykh
2349:Alexander Bogomazov
2183:Nikolay Diulgheroff
2077:Imperial War Museum
1981:Imperial War Museum
1949:Imperial War Museum
1918:"CRW Nevinson, ARA"
1891:Brain Foss (2007).
1670:Imperial War Museum
1642:Imperial War Museum
1610:Imperial War Museum
1524:Imperial War Museum
1430:"Wars and Conflict;
1022:Paul Gough (2010).
922:Paint and Prejudice
807:competition run by
787:The Strand by Night
675:Imperial War Museum
655:Hall of Remembrance
621:A Group of Soldiers
540:A Group of Soldiers
531:Official war artist
501:Leicester Galleries
456:Hampstead Town Hall
405:At the outbreak of
266:Slade School of Art
221:Paint and Prejudice
167:At the outbreak of
134:Slade School of Art
98:Slade School of Art
2604:Jules Schmalzigaug
2484:Nadezhda Udaltsova
2424:Aristarkh Lentulov
2399:Velimir Khlebnikov
2384:Natalia Goncharova
2291:Konstantin Olimpov
2040:Black, J. (2014).
1547:"The faceless men"
1492:. Amgueddfa Cymru-
1370:"Catalogue entry,
1338:"Catalogue entry,
984:David Boyd Haycock
846:
783:
759:London Underground
742:Charles Lewis Hind
699:
647:
589:Royal Flying Corps
577:Château d'Harcourt
557:
544:
475:
403:
313:
216:Charles Lewis Hind
3178:
3177:
3155:Sackville Gallery
2998:Groups influenced
2952:Associated people
2767:Dynamism of a Car
2718:The Art of Noises
2647:Anti-neutral suit
2589:C. R. W. Nevinson
2558:Enrico Prampolini
2444:Mikhail Matyushin
2434:Benedikt Livshits
2379:Nina Genke-Meller
2374:Aleksandra Ekster
2311:Russian Futurists
2233:Antonio Sant'Elia
2136:Italian Futurists
2083:Works by Nevinson
2073:Works by Nevinson
2050:978-1-84822-157-4
1902:978-0-300-10890-3
1851:978-1-84403-563-2
1826:978-0-87413-942-6
1709:978-0-7188-3090-8
1580:on 22 August 2014
1503:978-0-7200-0627-8
1269:978-1-4411-3058-7
1195:on 6 October 2014
1074:(Subscription or
1033:978-1-906593-00-1
997:978-1-905847-84-6
956:978-1-904897-98-9
883:Winston Churchill
601:Building Aircraft
368:Vital English Art
364:Vital English Art
329:Amedeo Modigliani
246:Margaret Nevinson
182:machine aesthetic
127:C. R. W. Nevinson
111:
110:
64:, London, England
25:C. R. W. Nevinson
3313:
3266:Futurist artists
3065:Soyuz Molodyozhi
3035:Jack of Diamonds
3030:Grosvenor School
2974:Benito Mussolini
2969:Sergei Diaghilev
2886:The Street Light
2816:The Knifegrinder
2667:Futurist cooking
2609:Mykhaylo Semenko
2594:Emilio Pettoruti
2533:Fortunato Depero
2523:Giuseppe Caselli
2439:Kazimir Malevich
2419:Mikhail Larionov
2364:Vladimir Burliuk
2286:Dmitri Kryuchkov
2208:Aldo Palazzeschi
2188:Luigi De Giudici
2158:Umberto Boccioni
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1092:. British Museum
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821:Legion d'Honneur
755:Somerset Maughan
738:Bloomsbury Group
679:Burlington House
495:The reaction to
348:Edward Wadsworth
120:
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3096:0,10 Exhibition
3084:
3040:Neo-Primitivism
2993:
2989:Igor Stravinsky
2984:LĂ©onide Massine
2947:
2900:Tango with Cows
2696:Selected output
2691:
2639:
2633:
2567:Other Futurists
2562:
2548:Sante Monachesi
2538:Gerardo Dottori
2518:Benedetta Cappa
2494:
2454:Boris Pasternak
2394:Vasily Kamensky
2314:
2305:
2281:Igor Severyanin
2266:Vasilisk Gnedov
2247:
2243:Ardengo Soffici
2223:Antonio Russolo
2193:F. T. Marinetti
2178:Franco Casavola
2168:Benedetta Cappa
2163:Anton Bragaglia
2131:
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2037:
2035:Further reading
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2019:
2018:on 13 June 2018
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871:Royal Air Force
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780:Queen Elizabeth
688:
686:Post-war career
636:
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497:La Mitrailleuse
490:La Mitrailleuse
481:La Mitrailleuse
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390:Medical orderly
387:
317:Academie Julian
294:Dora Carrington
290:Adrian Allinson
278:Stanley Spencer
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199:La Mitrailleuse
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2677:Futurist music
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1603:Paths of Glory
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552:Paths of Glory
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509:Arnold Bennett
505:Michael Sadler
486:Walter Sickert
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242:Henry Nevinson
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140:and alongside
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2528:Tullio Crali
2429:El Lissitzky
2271:Boris Gusman
2203:Bruno Munari
2065: at the
2041:
2022:23 September
2020:. Retrieved
2016:the original
2011:
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1987:19 September
1985:. Retrieved
1979:
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1955:27 September
1953:. Retrieved
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1927:25 September
1925:. Retrieved
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1771:19 September
1769:. Retrieved
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1676:27 September
1674:. Retrieved
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1648:23 September
1646:. Retrieved
1640:
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1616:19 September
1614:. Retrieved
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1584:17 September
1582:. Retrieved
1578:the original
1573:
1563:
1551:. Retrieved
1540:
1530:27 September
1528:. Retrieved
1522:
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1471:. Retrieved
1469:. p. W4
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1438:. Retrieved
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1411:. Retrieved
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1383:. Retrieved
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1353:25 September
1351:. Retrieved
1345:
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1319:. Retrieved
1315:
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1259:
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1223:
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1199:17 September
1197:. Retrieved
1193:the original
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1094:. Retrieved
1084:
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924:. New York.
921:
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893:Bibliography
878:
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146:Mark Gertler
131:
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113:
112:
75:(1946-10-07)
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3196:1946 deaths
3191:1889 births
3170:Zveno (art)
3133:Primitivism
3128:Pointillism
3111:Divisionism
3070:Suprematism
3050:Panfuturism
2682:Noise music
2624:Mary Swanzy
2553:Marisa Mori
2500:Aeropittura
2296:Rurik Ivnev
2198:Marisa Mori
2173:Carlo CarrĂ
2089:collection.
2079:collection.
1220:Art Journal
875:Dieppe raid
792:Radio Times
771:Radio Times
751:The Unknown
726:avant-garde
707:H. G. Wells
517:Alfred Mond
448:shell shock
407:World War I
298:Henry Tonks
169:World War I
138:Henry Tonks
123:World War I
3185:Categories
3010:Agit-train
2404:Ivan Kliun
2389:Elena Guro
2339:Lilya Brik
2213:Ugo Piatti
1549:. BBC News
1321:8 February
1078:required.)
933:References
902:. London.
747:Viola Tree
419:The Doctor
399:The Doctor
373:Vorticists
352:Ezra Pound
307:Study for
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250:Shrewsbury
232:Early life
204:war artist
162:Vorticists
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3080:Vorticism
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1096:31 August
854:The Blitz
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776:George VI
734:Roger Fry
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423:La Patrie
336:Marinetti
333:Futurists
282:Paul Nash
254:Uppingham
238:Hampstead
227:Biography
154:Futurists
150:Marinetti
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3060:Rayonism
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2491:(Iliazd)
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1800:21 March
986:(2009).
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360:Futurism
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