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C.R.W. Nevinson (1889-1946) is regarded as one of the finest British printmakers of the first half of the twentieth century - admired by contemporaries and modern-day viewers in equal measure. Drawing on original archival research and including a catalogue raisonne of Nevinson's prints, this unrivalled resource stands as a landmark publication in the literature available on this outstanding British modernist."
The first exhibition in Italy dedicated to Vorticism, Britain's contribution to the visual avant-gardes that flourished in Europe at the beginning of the 20th century. Its distinctive figurative abstraction was a London-based Anglo-American response to Cubism and Futurism. Led by poet Ezra Pound and by artist and writer Wyndham Lewis Vorticism flared up between 1913 and 1918.
The formative years of five of the most important British artists of the 20th century.
By 1917, after three years of hard fighting in the First World War, unprecedented loss of life and increasing hardship at home, the British government were looking for ways of developing public support for the War and generating financial support. This exhibition presents the 66 lithographs from a print portfolio that was commissioned by Wellington House, a government department secretly set up to produce propaganda in 1917. It was the most ambitious print project of the First World War. Eighteen artists contributed to the series, including some of the most celebrated artists of the time. They were published in an edition of 200 by the Fine Art Society and printed under the direction of Ernest Jackson, himself a contributor to the Ideals series. The prints were to be displayed in galleries around Britain and abroad - in France, America and Canada and sold to raise funds for the war effort. Despite good press coverage, the print sales did not meet expectations and the government made a loss on the project as a whole. By showing this work together as a group once again, this exhibition reassesses their significance as images of First World War propaganda and with the passage of time, allows a new audience to view the entire suite of images. The works are split in to two subjects, Ideals and Efforts. The Ideals express the aims and ambitions of the war through use of allegory and symbolism. 12 artists, including Edmund Dulac, Augustus John, Charles Shannon, Charles Ricketts and William Rothenstein, contributed to the Ideals series with subjects such as The Freedom of the Seas, The Reconstruction of Belgium and The Triumph of Democracy. Nine artists, including Christopher Richard Wynne Nevinson, Eric Kennington, Muirhead Bone and Charles Pears made prints for the Efforts portfolios, each producing six images under a single theme such as Making Soldiers, Making Guns, Building Ships or Work on the Land. These prints offer a fascinating overview of many war activities, including the vital role that many women played. Artistically the works are very different, reflecting the varying trends in British art at the time. Nevinson?s prints are modern, linear and dramatic, Pears' images are detailed and naturalistic, whereas Rothenstein communicates his subject through simple, pared-down images. This exhibition brings together the full set of lithographs for the first time on public display in Wales and is supported by a series of free talks, activities and events.--/www.museumwales.ac.uk.
Published on the occasion of the centenary of World War I, this Bulletin, which accompanies the related exhibition “World War I and the Visual Arts,” on view at The Met until January 7, 2018, explores the myriad and often contradictory ways in which artists responded to the world’s first modern war. Drawn primarily from The Met’s collection of works on paper and supplemented with loans from private collections, both presentations move chronologically from the initial mobilization in early August 1914 to the tumultuous decade that followed the armistice of November 1918. Ranging from expressions of bellicose enthusiasm to sentiments of regret, grief, and anger, the selected works—from prints, photographs, and drawings to propaganda posters, postcards, and commemorative medals—powerfully evoke the conflicting emotions of this complex period. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
This collection of essays assesses the significance of sport for the European avant-garde in the first half of the 20th century from an international and interdisciplinary perspective. It shows the extent to which avant-garde art and culture was shaped by the dynamic encounter with modern sports.
Christopher Nevinson is best known for his depictions of World War I, but he was also an accomplished painter and printmaker. In this, the most comprehensive book available on Nevinson's work and art, his achievements and his contribution to twentieth-century art receive a long-overdue reassessment.
Presents a "first history" of the artist and his work within the literary and sociocultural context of contemporary London, Paris, Milan, and New York. This work also emphasizes a re-evaluative positioning of Nevinson's work within a modernist framework in literature and art in the first half of the twentieth century in northwest Europe.
A collection of essays by an international group of scholars, The Edges of Trauma: Explorations in Visual Art and Literature addresses the vast cultural and discursive construction that trauma has become in recent decades. Unravelling aspects of representing, narrating, testifying to trauma and of sharing or conveying traumatic non-experience, many of the essays offer new perspectives on traditionally central topics of trauma studies, including shellshock, sexual abuse, the Holocaust, AIDS and 9/11, or on canonical trauma texts, such as Art Spiegelman’s Maus, W. G. Sebald’s Austerlitz and Virginia Woolf’s autobiographical writings. Some authors take issue with the at least partly commercially-motivated canonisation of trauma fiction, and with the automatic linking of certain textual features with traumatic experiences. In other essays, trauma works as an interpretative device that allows us to see otherwise familiar texts like Paul Scott’s Raj Quartet and the fiction of Beckett and Agota Kristof in a new light. Other contributors interrogate less obvious cultural and artistic representations – including First World War British painting, Jean-Richard Bloch’s wartime writings, Félix González-Torres’s candy-spills, the photography of Peter Piller and Ori Gersht, and recent American television comedy – in the context of trauma, while one author explores her own artistic practice as part of the working through of traumatic experiences. The Edges of Trauma differs from other volumes concerned with trauma and art in that it gathers together essays on both literature and visual art. These essays are concerned with the relationship between trauma and art, traumatic non-experience and aesthetic experience; exploring how the non-experience of trauma finds its way into artistic representations.