Skip to product information
1 of 4

CHRISTOPHER RICHARD WYNNE NEVINSON SIGNED ETCHING 1919 "LOVERS"

Regular price £2,300.00 GBP
Regular price Sale price £2,300.00 GBP
Sale Sold out
Tax included.
CHRISTOPHER RICHARD WYNNE NEVINSON SIGNED ETCHING 1919 "LOVERS"

1919 Signed etching by C W W Nevinson “The Lovers”

Artist – Christopher Richard Wynne Nevinson 1889 – 1946

Title - Lovers (1919)

Drypoint etching (Ed. 25)

Size - 27.5 x 17.5 cm

Christopher Richard Wynne Nevinson ARA (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 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