Nash, Paul [a483359] Artist . The artist felt that both the history and geometry of these stones lent them a mystical presence. All Rights Reserved |, The Landscape Vision of Paul Nash (Essays in Art and Culture), Art from the First World War (Imperial War Museum), War artist, Surrealist, landscapist: Alice Spawls on the visions of Paul Nash, In the Footsteps of Paul Nash: British War Artists Today, From trees to trenches: Why Paul Nash was the most important landscape painter since Constable, 1/4 Paul Nash: The Ghosts of War - British Art At War, Dave McKean on Paul Nash - 'The Trenches Completely Changed Him' | TateShots, Paul Nash - War, Surrealism and British Landscapes, In his deep attachment to the countryside, his persistent understated romance, and his interest in the perpetual cycle of time, there is something quintessentially English about the work of Paul Nash. He was the eldest child, and brother to John (also to become a very accomplished and well-known artist) and Barbara. ‘Hurrying along stooping and undulating like a queue of urgent females with fantastic hats’.

Notes

, , Appointed an official war artist by the British government in 1917, he created scenes of war such as The Menin Road (1919), a shattered landscape painted in a semiabstract, Cubist-influenced style. In the background, smoke suggests that the destruction is ongoing.

Both his drawing and painting that followed depict the war-torn Western Front, where the trees have been burned or beaten away and the earth has become scarred and undulated by shell holes.

November 14, 2006, By Michael Bracewell, Marc Camille Chaimowicz, Alice Channer and Inga Fraser / In 1933, Nash visited the village of Avebury, in Wiltshire, southwest England. In 1914 he enlisted in the Artists’ Rifles to serve in World War I. Their goal is to educate the world about the importance of health and fitness. It had been commissioned by the Ministry of Information in 1918, on the theme of heroism and sacrifice, and was intended to be shown in a Hall of Remembrance dedicated to "fighting subjects, home subjects and the war at sea and in the air". They have characteristics that make them look like animals, people, or other strange creatures.

This is perhaps in deliberate contrast to Nash's previous war paintings, which are characterized by chaos, ruin, and disarray, an attempt in pictures to re-establish harmony and balance.