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622:, 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.
428:, 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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668:. 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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436:. As the French authorities began to take control of the situation, Nevinson was reassigned as an ambulance driver. Although Nevinson would often make much of this time as an ambulance driver, particularly in his publicity material, he only held the role for a week as, due to his poor health, he lacked the strength to steer the vehicle. By January 1915 his worsening rheumatism had made him unfit for further service and he returned to Britain.
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900:. 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.
641:, 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.
307:. 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,
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863:, 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
311:, 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
217:, 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.
171:, 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
1928:
830:, 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.
814:. 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
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213:, '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
590:, 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
132:(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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680:, 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
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538:. Several famous writers and politicians visited the exhibition; it received extensive press coverage and Nevinson became something of a celebrity.
2014:
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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.
221:, 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.
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822:'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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386:, 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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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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598:. 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
424:, 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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735:. 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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772:. Nevinson distributed the poster outside the theatre and gained a great deal of press coverage in the process.
503:'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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369:. In June 1914 he published, in several British newspapers, with Marinetti, a manifesto for English
191:. 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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represented British culture at the celebrations of the first anniversary of the
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175:, 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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365:, Nevinson also joined. In March 1914 he was among the founder members of the
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357:. 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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1878:"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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353:. 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,
1143:. 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
1904:
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
578:. Wearing the uniform of a war correspondent, he visited the
259:. He was always known as Richard to his friends. Educated at
2108:
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A Terrible Beauty: British Artists in the First World War
342:, became acquainted with Cubism and also met the Italian
751:
was a particularly virulent critic. In 1920, the critic
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The Soul of the Soulless City (New York-an abstraction)
875:
The Fire of London, December 29th – An Historic Record
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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
1676:"First World War Art Archive, CRW Nevinson (Part 2)"
1530:"First World War Art Archive, CRW Nevinson (Part 1)"
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267:, which he hated, Nevinson went on to study at the
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3292:People associated with the Friends' Ambulance Unit
1736:"Looking for solace: C.R.W. Nevinson and Futurism"
1062:
909:1918 Nevinson, C.R.W. and Flitch, J.E. Crawford,
896:as a gift to the nation and which still hangs in
326:After leaving the Slade, Nevinson studied at the
247:Christopher Richard Wynne Nevinson was born in
159:. When he left the Slade, Nevinson befriended
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1225:Charles E. Doherty (1992). "Nevinson's Elegy:
225:both the US and Britain. In 1920, the critic
8:
1073:(online ed.). Oxford University Press.
1501:The Great War: Britain's Efforts and Ideals
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1139:Merion Harries & Susie Harries (1983).
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207:wrote at the time that Nevinson's painting
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2074:108 artworks by or after C. R. W. Nevinson
1853:1001 Paintings You Must See Before You Die
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1061:, revised by Sinead Agnew (October 2009).
136:. He is often referred to by his initials
47:
31:
3127:Estorick Collection of Modern Italian Art
2104:Works in the UK Government Art Collection
1413:"Arts: A man who did well out of the war"
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834:in 1938 and was made an Associate of the
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880:Nevinson obtained a commission from the
1581:"CRW Nevinson Painting: Paths of Glory"
1070:Oxford Dictionary of National Biography
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1024:
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873:and a depiction of a fire-bomb attack,
682:The Nation's War Paintings and Drawings
255:and the suffrage campaigner and writer
3237:Alumni of the Slade School of Fine Art
2820:Futurist Painting: Technical Manifesto
2764:Drama in the Futurists' Cabaret No. 13
3252:British Army personnel of World War I
2813:Dynamism of a Speeding Horse + Houses
7:
2053:C.R.W. Nevinson: The Complete Prints
1855:. Cassell Illustrated/Quintessence.
1734:Felicity MacKenzie (29 April 2019).
1101:"Christopher Richard Wynne Nevinson"
884:to portray airmen preparing for the
283:. There his contemporaries included
167:, and the radical writer and artist
3297:People educated at Uppingham School
3242:Alumni of St John's Wood Art School
2918:Unique Forms of Continuity in Space
2055:. Farnham, Surrey. Lund Humphries.
1955:"War artists archive, CRW Nevinson"
1351:Study for Returning to the Trenches
1299:CRW Nevinson: This Cult of Violence
779:Cover of the 7 May 1937 edition of
570:In April 1917, with the support of
203:to great effect. His fellow artist
1411:Michael Glover (3 November 1999).
1327:Birmingham Museums and Art Gallery
1001:. Old Street Publishing (London).
125:Christopher Richard Wynne Nevinson
66:Christopher Richard Wynne Nevinson
25:
3307:Royal Army Medical Corps soldiers
3227:20th-century English male artists
1826:Michael J. K. Walsh, ed. (2007).
928:. London. Grant Richards Limited.
806:, marking the Coronation of King
785:, marking the Coronation of King
271:. Inspired by seeing the work of
140:, and was also known as Richard.
2757:Development of a Bottle in Space
1830:. University of Delaware Press.
1579:Richard Slocombe (30 May 2014).
3262:Knights of the Legion of Honour
3247:Associates of the Royal Academy
2862:Manifesto of Futurist Musicians
2799:Dynamism of a Human Body: Boxer
1466:Felten, Eric (6 October 2007).
861:War Artists' Advisory Committee
662:British War Memorials Committee
2869:Mercury Passing Before the Sun
1851:Stephen Farthing, ed. (2006).
1243:10.1080/00043249.1992.10791554
645:Hall of Remembrance Commission
628:The Road from Arras to Bapaume
322:, drawn between 1914 and 1915.
1:
3222:20th-century English painters
2098:Royal Air Force Museum London
1800:Looking Down into Wall Street
1711:CRW Nevinson: Hanging a Rebel
1556:Allan Little (23 June 2014).
960:. Imperial War Museum. 2008.
732:The Soul of the Soulless City
53:1935 portrait of Nevinson by
3176:Verbovka Village Folk Centre
2792:Dynamism of a Dog on a Leash
1876:Lucy Ellis (10 April 2020).
1166:The Oxford Dictionary of Art
1087:UK public library membership
958:Art from the First World War
684:exhibition organised by the
620:Britain's Efforts and Ideals
269:St John's Wood School of Art
163:, the leader of the Italian
104:St John's Wood School of Art
2890:The Street Enters the House
2806:Dynamism of a Soccer Player
2013:Government Art Collection.
1709:Michael J.K. Walsh (2008).
1468:"St. Louis – Party Central"
1297:Michael J.K. Walsh (2002).
1194:Government Art Collection.
1168:. Oxford University Press.
890:The Battlefields of Britain
275:, he decided to attend the
27:English painter (1889–1946)
3333:
3267:English landscape painters
2668:Italian futurism in cinema
2229:Francesco Balilla Pratella
1439:Roger Tolson (July 2006).
937:Harcourt Brace and Company
920:1917 Nevinson, C.R.W. and
911:The Great War: Fourth Year
722:Republic of Czechoslovakia
91:Hampstead, London, England
18:Christopher R. W. Nevinson
2841:The Hand of the Violinist
2834:Girl Running on a Balcony
2345:Vladimir Baranoff-Rossine
2023:Government Art Collection
1906:. Yale University Press.
1713:. The Lutterworth Press.
1499:Mari Gordon, ed. (2014).
1323:"Oil Painting – LaPatrie"
1301:. Yale University Press.
1273:. Bloomsbury Publishing.
1200:Government Art Collection
855:(1940) (Art.IWM ART LD14)
656:(1918) (Art.IWM ART 1921)
576:Department of Information
441:Returning to the Trenches
426:British Red Cross Society
320:Returning to the Trenches
281:University College London
46:
2610:Valentine de Saint-Point
2595:José de Almada Negreiros
1765:Toby Treves (May 2000).
1196:"CRW Nevinson in London"
708:(1917) (Art.IWM ART 519)
566:(1917) (Art.IWM ART 518)
553:(1917) (Art.IWM ART 520)
518:bought three paintings,
484:(1916) (Art.IWM ART 200)
455:Royal Army Medical Corps
412:(1916) (Art.IWM ART 725)
297:Maxwell Gordon Lightfoot
189:Royal Army Medical Corps
143:Nevinson studied at the
3282:British modern painters
2630:Frances Simpson Stevens
2625:Amadeo de Souza Cardoso
2017:Battlefields of Britain
1478:Dow Jones & Company
1473:The Wall Street Journal
931:1938 Nevinson, C.R.W.,
727:New York-an abstraction
618:portfolio of pictures,
584:Battle of Passchendaele
499:wrote at the time that
422:Friends' Ambulance Unit
338:, shared a studio with
184:Friends' Ambulance Unit
3232:Académie Julian alumni
2970:Luisa, Marchesa Casati
2715:Abstract Speed + Sound
2649:Techniques, sub-genres
1985:Anti-aircraft Defences
1079:10.1093/ref:odnb/35206
1064:"Henry Woodd Nevinson"
1037:. Sansom and Company.
915:Grant Richards Limited
870:Anti-aircraft Defences
856:
852:Anti-aircraft Defences
793:
709:
657:
567:
554:
485:
420:, Nevinson joined the
413:
323:
182:, Nevinson joined the
3272:English male painters
3217:People from Hampstead
3171:Ukrainian avant-garde
3149:Robert René Meyer-Sée
2855:Manifesto of Futurism
2785:Dynamism of a Cyclist
2673:Futurist architecture
2365:Kseniya Boguslavskaya
1981:Imperial War Museum.
1953:Imperial War Museum.
1933:Royal Academy of Arts
1674:Imperial War Museum.
1646:The Harvest of Battle
1642:Imperial War Museum.
1610:Imperial War Museum.
1528:Imperial War Museum.
1505:National Museum Wales
1269:Toby Thacker (2014).
1164:Ian Chilvers (2004).
849:
824:The Twentieth Century
778:
704:
673:The Harvest of Battle
654:The Harvest of Battle
652:
616:War Propaganda Bureau
592:4th Infantry Division
560:
549:
480:
408:
317:
199:and the influence of
3317:World War II artists
3287:Painters from London
2932:Victory over the Sun
2335:Alexander Archipenko
926:Modern War Paintings
712:Nevinson, alongside
688:in December 1919 at
443:, and the sculpture
3312:World War I artists
3302:Artists from London
3257:British war artists
3154:Russian avant-garde
2975:Gabriele D'Annunzio
2939:Vladimir Mayakovsky
2876:The Poem of the End
2683:Futurist literature
2490:Vadim Shershenevich
2460:Vladimir Mayakovsky
2420:Aleksei Kruchyonykh
2360:Alexander Bogomazov
2194:Nikolay Diulgheroff
2088:Imperial War Museum
1992:Imperial War Museum
1960:Imperial War Museum
1929:"CRW Nevinson, ARA"
1902:Brain Foss (2007).
1681:Imperial War Museum
1653:Imperial War Museum
1621:Imperial War Museum
1535:Imperial War Museum
1441:"Wars and Conflict;
1033:Paul Gough (2010).
933:Paint and Prejudice
818:competition run by
798:The Strand by Night
686:Imperial War Museum
666:Hall of Remembrance
632:A Group of Soldiers
551:A Group of Soldiers
542:Official war artist
512:Leicester Galleries
467:Hampstead Town Hall
416:At the outbreak of
277:Slade School of Art
232:Paint and Prejudice
178:At the outbreak of
145:Slade School of Art
109:Slade School of Art
2615:Jules Schmalzigaug
2495:Nadezhda Udaltsova
2435:Aristarkh Lentulov
2410:Velimir Khlebnikov
2395:Natalia Goncharova
2302:Konstantin Olimpov
2051:Black, J. (2014).
1558:"The faceless men"
1503:. Amgueddfa Cymru-
1381:"Catalogue entry,
1349:"Catalogue entry,
995:David Boyd Haycock
857:
794:
770:London Underground
753:Charles Lewis Hind
710:
658:
600:Royal Flying Corps
588:Château d'Harcourt
568:
555:
486:
414:
324:
227:Charles Lewis Hind
3189:
3188:
3166:Sackville Gallery
3009:Groups influenced
2963:Associated people
2778:Dynamism of a Car
2729:The Art of Noises
2658:Anti-neutral suit
2600:C. R. W. Nevinson
2569:Enrico Prampolini
2455:Mikhail Matyushin
2445:Benedikt Livshits
2390:Nina Genke-Meller
2385:Aleksandra Ekster
2322:Russian Futurists
2244:Antonio Sant'Elia
2147:Italian Futurists
2094:Works by Nevinson
2084:Works by Nevinson
2061:978-1-84822-157-4
1913:978-0-300-10890-3
1862:978-1-84403-563-2
1837:978-0-87413-942-6
1720:978-0-7188-3090-8
1591:on 22 August 2014
1514:978-0-7200-0627-8
1280:978-1-4411-3058-7
1206:on 6 October 2014
1085:(Subscription or
1044:978-1-906593-00-1
1008:978-1-905847-84-6
967:978-1-904897-98-9
894:Winston Churchill
612:Building Aircraft
379:Vital English Art
375:Vital English Art
340:Amedeo Modigliani
257:Margaret Nevinson
193:machine aesthetic
138:C. R. W. Nevinson
122:
121:
75:, London, England
36:C. R. W. Nevinson
16:(Redirected from
3324:
3277:Futurist artists
3076:Soyuz Molodyozhi
3046:Jack of Diamonds
3041:Grosvenor School
2985:Benito Mussolini
2980:Sergei Diaghilev
2897:The Street Light
2827:The Knifegrinder
2678:Futurist cooking
2620:Mykhaylo Semenko
2605:Emilio Pettoruti
2544:Fortunato Depero
2534:Giuseppe Caselli
2450:Kazimir Malevich
2430:Mikhail Larionov
2375:Vladimir Burliuk
2297:Dmitri Kryuchkov
2219:Aldo Palazzeschi
2199:Luigi De Giudici
2169:Umberto Boccioni
2133:
2126:
2119:
2110:
2039:
2038:
2036:
2034:
2025:. Archived from
2010:
2004:
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2001:
1999:
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1103:. British Museum
1097:
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1059:H. N. Brailsford
1055:
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1013:
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991:
972:
971:
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832:Legion d'Honneur
766:Somerset Maughan
749:Bloomsbury Group
690:Burlington House
506:The reaction to
359:Edward Wadsworth
131:
87:
51:
32:
21:
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3327:
3326:
3325:
3323:
3322:
3321:
3192:
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3190:
3185:
3107:0,10 Exhibition
3095:
3051:Neo-Primitivism
3004:
3000:Igor Stravinsky
2995:LĂ©onide Massine
2958:
2911:Tango with Cows
2707:Selected output
2702:
2650:
2644:
2578:Other Futurists
2573:
2559:Sante Monachesi
2549:Gerardo Dottori
2529:Benedetta Cappa
2505:
2465:Boris Pasternak
2405:Vasily Kamensky
2325:
2316:
2292:Igor Severyanin
2277:Vasilisk Gnedov
2258:
2254:Ardengo Soffici
2234:Antonio Russolo
2204:F. T. Marinetti
2189:Franco Casavola
2179:Benedetta Cappa
2174:Anton Bragaglia
2142:
2137:
2070:
2048:
2046:Further reading
2043:
2042:
2032:
2030:
2029:on 13 June 2018
2012:
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922:Konody, Paul G.
906:
882:Royal Air Force
844:
812:Queen Elizabeth
791:Queen Elizabeth
699:
697:Post-war career
647:
544:
508:La Mitrailleuse
501:La Mitrailleuse
492:La Mitrailleuse
475:
403:
401:Medical orderly
398:
328:Academie Julian
305:Dora Carrington
301:Adrian Allinson
289:Stanley Spencer
245:
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210:La Mitrailleuse
153:Stanley Spencer
127:
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114:Académie Julian
97:Alma mater
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3160:Russian Ballet
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3026:Constructivism
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2771:Dyr bul shchyl
2767:
2760:
2753:
2746:
2743:The City Rises
2739:
2732:
2725:
2718:
2710:
2708:
2704:
2703:
2701:
2700:
2695:
2690:
2688:Futurist music
2685:
2680:
2675:
2670:
2665:
2660:
2654:
2652:
2651:and inventions
2646:
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2640:Růžena Zátková
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2500:Ilia Zdanevich
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2327:Cubo-Futurists
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2312:Pavel Shirokov
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2068:External links
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2005:
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1806:British Museum
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1614:Paths of Glory
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706:After The Push
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638:Paths of Glory
563:Paths of Glory
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520:Arnold Bennett
516:Michael Sadler
497:Walter Sickert
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446:The Rock Drill
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332:Vladimir Lenin
253:Henry Nevinson
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205:Walter Sickert
151:and alongside
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2585:Alice Bailly
2539:Tullio Crali
2440:El Lissitzky
2282:Boris Gusman
2214:Bruno Munari
2076: at the
2052:
2033:23 September
2031:. Retrieved
2027:the original
2022:
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2008:
1998:19 September
1996:. Retrieved
1990:
1984:
1976:
1966:27 September
1964:. Retrieved
1958:
1948:
1938:25 September
1936:. Retrieved
1932:
1922:
1903:
1897:
1885:. Retrieved
1881:
1871:
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1821:
1809:. Retrieved
1805:
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1782:19 September
1780:. Retrieved
1774:
1768:
1745:. Retrieved
1739:
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1687:27 September
1685:. Retrieved
1679:
1669:
1659:23 September
1657:. Retrieved
1651:
1645:
1637:
1627:19 September
1625:. Retrieved
1619:
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1595:17 September
1593:. Retrieved
1589:the original
1584:
1574:
1562:. Retrieved
1551:
1541:27 September
1539:. Retrieved
1533:
1523:
1500:
1494:
1482:. Retrieved
1480:. p. W4
1471:
1461:
1451:17 September
1449:. Retrieved
1442:
1434:
1424:29 September
1422:. Retrieved
1416:
1406:
1396:22 September
1394:. Retrieved
1388:
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1364:25 September
1362:. Retrieved
1356:
1350:
1342:
1330:. Retrieved
1326:
1317:
1298:
1270:
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1234:
1230:
1226:
1220:
1210:17 September
1208:. Retrieved
1204:the original
1199:
1165:
1159:
1140:
1105:. Retrieved
1095:
1068:
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1034:
998:
957:
952:
935:. New York.
932:
925:
910:
904:Bibliography
889:
879:
874:
868:
858:
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797:
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367:London Group
325:
319:
285:Mark Gertler
246:
231:
223:
208:
177:
157:Mark Gertler
142:
137:
124:
123:
86:(1946-10-07)
29:
3207:1946 deaths
3202:1889 births
3181:Zveno (art)
3144:Primitivism
3139:Pointillism
3122:Divisionism
3081:Suprematism
3061:Panfuturism
2693:Noise music
2635:Mary Swanzy
2564:Marisa Mori
2511:Aeropittura
2307:Rurik Ivnev
2209:Marisa Mori
2184:Carlo CarrĂ
2100:collection.
2090:collection.
1231:Art Journal
886:Dieppe raid
803:Radio Times
782:Radio Times
762:The Unknown
737:avant-garde
718:H. G. Wells
528:Alfred Mond
459:shell shock
418:World War I
309:Henry Tonks
180:World War I
149:Henry Tonks
134:World War I
3196:Categories
3021:Agit-train
2415:Ivan Kliun
2400:Elena Guro
2350:Lilya Brik
2224:Ugo Piatti
1560:. BBC News
1332:8 February
1089:required.)
944:References
913:. London.
758:Viola Tree
430:The Doctor
410:The Doctor
384:Vorticists
363:Ezra Pound
318:Study for
279:, part of
261:Shrewsbury
243:Early life
215:war artist
173:Vorticists
3133:Le Chahut
3091:Vorticism
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2480:Ivan Puni
2355:Osip Brik
2164:"Barbara"
1484:6 October
1107:31 August
865:The Blitz
838:in 1939.
808:George VI
787:George VI
745:Roger Fry
524:La Petrie
434:La Patrie
347:Marinetti
344:Futurists
293:Paul Nash
265:Uppingham
249:Hampstead
238:Biography
165:Futurists
161:Marinetti
73:Hampstead
3100:See also
3086:Supremus
3071:Rayonism
3016:Agitprop
2590:Mina Loy
2502:(Iliazd)
2140:Futurism
1811:21 March
997:(2009).
614:for the
526:and Sir
371:Futurism
197:Futurism
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2848:Lacerba
2750:Cyclist
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2086:in the
1887:22 July
1564:23 June
820:Cadbury
747:of the
532:A Taube
530:bought
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3117:Cubism
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594:near
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2080:site
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2000:2014
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