Christopher R. W. Nevinson
Temples of New York
1919

Name: Temples of New York
Brand: Christopher R. W. Nevinson
Price: 7500 USD
Availability: InStock

About the Item

Temples of New York. 1919. Drypoint. Leicester 44, Guichard 26, Black 55. 7 3/4 x 6. Edition 50. New York set. Trinity Church facade from the back, which faces Wall Street. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalog, 1999, page 138. Pristine condition. A very rich impression, with drypoint burr, printed with plate tone on cream wove paper with full margins. Signed in pencil. House in a 20 x 26-inch archival mat, suitable for framing. Painter of landscapes, urban and industrial subjects, war scenes, figure studies and flower paintings; an accomplished etcher and lithographer who worked in a variety of styles. He attended St John’s Wood School of Art 1907-8, the Slade School 1908-12 and the Academie Julian, Paris, 1912-13, where he shared a studio with Modigliani, worked at the Cercle Russe and made friends with Severini. Interested in Cubism and Futurism, he was one of the first English artists to be deeply influenced by new developments in Europe at that time; his work was included in the Post-Impressionists and Futurists exhibition at the Dore Gallery in 1913, and he organized a banquet for the Futurist leader Marinetti in London in that year. A founder member of the London Group, and active in the Rebel Art Centre, he wrote, with Marinetti, `Vital English Art: A Futurist Manifesto’, published in the Observer in 1914; he also contributed to the second issue of Blast. In 1915 he joined the RAMC, and was made an Official War Artist in 1917; he was the first artist to draw from the air. He tried to sum up the anonymity of the individual in Column on the March, 1915, the destructiveness of war in The Road From Arras to Bapaume, 1918, and its horror in Paths of Glory, which was censored and earned him a reprimand from the War Office. His prints, with their bold contrasts and jagged forms, marked a complete break with the Whistler tradition. In 1919, and 1920 he visited New York at the invitation of the print dealer, Frederick Keppel, and created an iconic New York series. Nevinson was elected to the NEAC in 1929, the RBA in 1932 and as ARA in 1939. His later landscape and flower pieces were gentler and less radical in design than his work before 1925.

Creator:

Christopher R. W. Nevinson (1889 - 1946, British)

Creation Year:

1919

Dimensions:

Height: 7.75 in (19.69 cm)Width: 6 in (15.24 cm)Depth: 0.5 in (1.27 cm)

Medium:

Drypoint

Movement & Style:

Futurist

Period:

1910-1919

Condition:

Gallery Location:

Storrs, CT

Reference Number:

1stDibs: LU3352828643

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Christopher R. W. Nevinson

Christopher Wynne Nevinson (1889 – 1946) was a painter, etcher, and lithographer of landscapes, town scenes, and figure subjects. However, it is as a war artist, painting battlefield and London scenes illuminated by searchlights, for which he is most renowned. Born in Hampstead, North London on 13th August 1889, Nevinson studied at the St. Johns Wood School of Art (1907-08), before moving to the Slade School from 1908 to 1912, where he studied under the traditionalist Henry Tonks (1862 – 1937). Then in Paris he enrolled at the Academie Julien (1912 – 17) and studied at the Circle Russe. In Paris, Nevinson shared a studio with Amedeo Modigliani (1884 – 1920) and became influenced by Cubism. London during Nevinson’s years at the Slade was a hotbed of radical thought and artistic styles and theories, while Walter Richard Sickert (1860 – 1942), founder of the Camden Town School, was a hugely influential figure for younger artists. Signor Marinetti’s visits to London in 1910 and following years introduced the Futurists and their Manifesto to an audience of young artists eager to absorb a new creed, while Roger Fry’s exhibition, ‘Manet and the Post Impressionists’ of 1910 – 11, caused an uproar in the artistic establishment. Nevinson, drawing inspiration from these disparate sources, became a significant member of the avant-garde movement and later, a signatory to the Futurist Manifesto published in England in 1914, thereby alienating himself from the majority of his contemporaries. Nevinson first exhibited in London in 1910 and became a founder member of the London Group, formerly the Camden Town Group, in 1913, exhibiting with Sickert, Camille Pissarro, Edward Wadsworth, David Bomberg, Sylvia Gosse, and Paul Nash. In 1915 the ‘Vorticists’ held their only group show at the Dore Gallery. Developed by Wyndham Lewis from ideas of the Futurists, of whom he was highly critical, the movement included Gaudier Brzeska, Jacob Epstein, William Roberts, David Bomberg, and Christopher Nevinson. In 1914, Nevinson volunteered for the Red Cross, being discharged in 1916, and in 1917 he was appointed an Official War Artist, continuing to produce bleak and chilling images of the battlefields and the skies above. In 1919, Nevinson made the first of a number of visits to New York, on arrival commenting to a journalist that “New York was built for me”. His spectacular views of skyscrapers and the city streets viewed as canyons are among his most dramatic works. In 1929 Nevinson was elected a member of the New English Art Club; in 1932 to the Royal Society of British Arts and in 1939 an Associate of the Royal Academy.