Tag Archives: Paul Nash
WATERCOLOUR – ELEMENTS OF NATURE │ Fitzwilliam Museum, Cambridge → 27 September 2015
GALLERY
ARTISTS INCLUDE
Paul Cézanne, John Constable, John Sell Cotman, Peter de Wint, Nicholas Hilliard, Paul Nash, Isaac Oliver, Samuel Palmer, Camille Pissarro, Pierre-Joseph Redouté, John Singer Sargent, JMW Turner, J. M. Whistler
Henry Percy, 9th Earl of Northumberland (c.1595), Nicholas Hilliard
Lucy, Countess of Bedford (c.1606), Isaac Oliver
Lake Nemi (c.1788) John Robert Cozens
Shakespeare Cliff, Dover (c. 1825), J. M. W. Turner
The Magic Apple Tree (c. 1830), Samuel Palmer
Venice, Storm at Sunset. Turner, Joseph Mallord William (British, 1775-1851). Watercolour and bodycolour with pen and red ink and scratching out on paper, 1840-1842.
Still life flowers in a jar (c. 1890), Paul Cézanne
Emma Crichton-Miller APOLLO MAGAZINE 10 July 2015
Brilliana Harley COUNTRY LIFE 9 July 2015
THE MODERN LENS: INTERNATIONAL PHOTOGRAPHY AND THE TATE COLLECTION │ Tate St Ives, Cornwall → 10 May 2015
‘Chicago’ (c1951) by Harry Callahan
Untitled 1931 photograph by Iwao Yamawaki of a Moscow building
Claude Cahun: I Extend My Arms. 1931 or 1932. Black and white photograph on paper. 210 x 156 mm. Purchased 2007. The estate of Claude Cahun
‘Leaf and Prism’ (1938) by György Kepes
‘Granada’ (1951) by Geraldo de Barros
Horacio Coppola (1906- 2012), Egg and Twine, 1932 Photo: © 2014 Galería Jorge Mara-La Ruche
Glasses and Shadow c.1955 by Gyulia Holics (© Reserved. Estate of Gyula Holics)
“Pạnirñ ātists fṛm acrs Yṛp, ɖ Americ̣z n Jpan r biyñ šôn at Têt St Îvz fr ɖ frst tîm in Ɖ Modn Lenz.
Ɖs z ɖ ljst dsple v fôṭgrafic wrcs evr t b xibitd at ɖ gaḷri. Lcñ at dveḷpmnts in inṭnašnl ftogṛfi fṛm ɖ 1920z t ɖ 1960z, ɖ xibišn uncuvrz ɖ sens v krioṣti n xperimntešn az ātists hānist ɖ mīdı̣m in ny wez.
Ftogṛfi wz yzd t xplor îdiyz v abstraẋn, dveḷpt in tandm wɖ ɖ imrjns v wîdr moḍnist lanĝjz acrs ɖ glôb. It olso demnstretd ɖ significns v a lôcl pspctv, az ātists cmbînd ɖ brwd inflụnsz v abstraẋn, cnstructvizm n sriylizm wɖ ɖer ôn contxts. Ɖr r imijz v rṛl landsceps, ōganic fwmešnz, man-md objcts n industrı̣l mtirı̣lz, az wel az v ŕbn ācitcčr.
Lūsli arenjd bî lcešn, Ɖ Modn Lenz ôpnz wɖ ftogṛfi n abstraẋn in Latin America: ācitcčr, lît n cnstructd fwmz undrpin wrcs bî ātists sč az Žraldo di Barŭs n Tomaz Fāc̣s in Bṛzil.
In subsiqnt gaḷriz, pêntñz n sculpčrz fṛm Britiš ātists in ɖ 1930z, includñ Pwl Naš, Ben Niclsn, Îvn Hičnz, Bābra Hepẉʈ n Henri Mur, xplor a mmnt in Britiš moḍnizm šêpt bî ɖ opozñ fwsz v pyr abstraẋn n sriylizm. Ɖz wrcs r šôn in rlešn t a fôṭgrafic sīqns md bî ācitect n dzînr Šālot Periã, ātist Fernã Ležé n ācitect Pier Žaneré, hu wr c̣laḅretñ in Paris in ɖ sem pirı̣d; ɖer wrc z ɖ rzult v a siriz v pfwmd wōcs in ẇč ɖe stêjd incântrz wɖ jı̣mtric fwmz in nêčr.
Ɖ imbresñ v ny tecnoḷjiz t rle ɖ fwml qoḷtiz v lît, spês n tôn wr sentṛl lesnz v ɖ Bâhâs in Jrṃni fṛm its ôpnñ in 1919.
Includñ rer fôtogramz, prints n filmfŭtij bî rnând tytrz Lasló Moholi-Noj n Valter Peterhanz alñ wɖ ɖer stydnts, ɖ xibišn cnsidrz hâ ɖ scūl inflụnst mîgṛnt moḍnist ftogṛfrs sč az Iweo Yaṃwaci fṛm Jpan n ɖ Hungẹrı̣n Ydit Cāras.
Ɖ Modn Lenz culminets wɖ ɖ wrc v Hari Caḷhn, wn v America’z most influenšl ftogṛfrz. Invîtd t tīč at Moholi-Noj’z Ny Bâhâs (Šicago Instityt v Dzîn), Caḷhn wrct īqli in blac n ẇît az wel az in culr, n wz ci t ɖ dveḷpmnt v fwml abstraẋn in pôstwor Americn ftogṛfi.”
ẆT ĐE SE
Crisčn Hâs, Đ TEḶGRAF, 29 Octobr 2014
Liz Jôbi, Đ FNANŠL TÎMZ, 24 Octobr 2014
THE SENSORY WAR 1914-2014 │ Manchester Art Gallery → 22 February 2015
“Ɖs mêjr grūpexibišn mācñ ɖ Sentīṇri v ɖ Frst Wrldwor xplorz hâ ātists hv cmynicetd ɖ impact v militri conflict on ɖ bodi, mînd, invîrnmnt n hymn sensz btwn 1914 n 2014.
Ɖ šo xaminz hâ ātists fṛm 1914 onwdz dpictd ɖ devstetñ impact v ny militri tecnoḷjiz yṭlîzd in a senčri v conflict bginñ wɖ ɖ Frst Wrldwor. It brñz tgɖr wrc fṛm a renj v līdñ ātists includñ Henri Lam, CRW Nevinsn, Pwl Naš, Oto Dix, Nansi Spero, Ričd Mos, Omer Fast n fīčrz wrcs bî ɖ hībacūša, svîvrz v ɖ atomic bom dropt on Hirošima, ẇč wr crietd in ɖ 1970z n r biyñ šôn in ɖ YC fr ɖ frst tîm.
Fumiko Ya: Hospital. 1973-74. (Hiroshima Peace Memorial Museum)
Yoshiko Michitsuji, aged 48 at the time of drawing. I ran towards my house through a sea of flames (Hibakusha Works: Hiroshima Peace Memorial Museum)
Kichisuke Yoshimura, 75 at time of drawing. Riverbank near Hiroshima Railway Station. Their clothes ripped to shreds. Their skin hanging down. 1973-74 (Hibakusha Works: Hiroshima Peace Memorial Museum)
Masahiko Nakata, age 72 at the time of drawing. Bloated bodies in the river over Yokogawa Bridge, 1973-74 (Hibakusha Works: Hiroshima Peace Memorial Museum)
Gisaku Tanaka aged 72 at the time of drawing. Lights blinking on in the atomic desert (Hibakusha Works: Hiroshima Peace Memorial Museum)
(Ṣmanʈa Pein, Đ INṬNAŠNL BIZNISTÎMZ, 24 Septembr 2014)
Ɖ Frst Wrldwor involvd a pṛfând rīcnfiğrešn v senṣri xpirı̣ns n pspšn ʈru ɖ invnšn v devstetñ militri tecnoḷjiz, ẇč dstrŷd hymn lîvz n oltrd ɖ invîrnmnt bynd recgnišn. Its leġsi hz cntinyd n ivolvd ʈru īvn mr radicl fwmz v dstruẋn ovr ɖ last hundṛd yirz. Ʈrt ɖ senčri, ātists hv strugld t undrstand ɖ tru ifct v modn tecṇlojicl warfér. Ẇl militri n pres ftogṛfi hv brwt a ny c̣paṣti t coldli dokyment sč līʈl dsplez, ātists fând a dfṛnt we v siyñ.
Mančestr Ātgaḷri hz a našnli impwtnt c̣lẋn v āt v ɖ Frst Wrldwor, ẇč wz asmbld bî its frst drctr, Loṛns Hêẉd. Têcñ ɖs rič c̣lẋn az ɖ stātñpŷnt, ɖs šo includz historic n cntmprri āt fṛm ɖ YC, Jrṃni, Frans, Iṭli, ɖ Neɖrḷndz, ɖ Ynîtd Stêts, Caṇda, Jpan, Vietnam, Ny Zīḷnd, Aljiria, Îrḷnd, Iran, Izrel n Paḷstîn.
Continue reading THE SENSORY WAR 1914-2014 │ Manchester Art Gallery → 22 February 2015
TRUTH & MEMORY: BRITISH ART OF THE FIRST WORLD WAR │ Imperial War Museum, London → 8 March 2015
Eric Õri Kenñtn, Đ CENZÑTNZ AT LAVNTI, 1915
Stanli Spensr, TRAVŶZ ARÎVÑ WĐ WŪNDD AT A DRESÑSTÊŠN AT SMOL, MAṢDÔNIA, SEPTEMBR 1916
Jwj Clwzn, YŪƮ MŌNÑ, 1916
Jon Naš, OPI WŬD, 1917: ĪVNÑ
Jwj Glwzn, IN Đ GUNFACTRI AT WŬLIJ ĀSNWL, 1918
Pwl Naš, W R MCÑ A NY WRLD, 1918
Ana Ẹri, ŠOP FR MŠĪNÑ 15-INČ ŠELZ: SÑR MANYFACČRÑCUMṖNI, CLÎDBANC, GLAZGO, 1918
Pwl Naš, Đ MENINRÔD, 1919
CRW Nevinsn, PAĐZ V GLWRI, 1917
Jon Sñr Sājnt, GAST, 1919
Prsi Windm Luis, A BAṬRI ŠELD, 1919
Gilḅt Rojrz, GAST, ‘IN ARDUIS FIDELIS,’ 1919
Wiłm Ōpn, T Đ UŅÔN BRITIŠ SOLJR IN FRANS, 1921
“Ɖ ljst xibišn v Britiš Frst Wrldwor āt fr olmst 100 yirz, ɖs mêjr retṛspctv rvilz hâ ātists helpt cmeṃret ɖ Frst Wrldwor n šêp a memri v ɖ conflict ɖt indyrz t ɖs de.
Ɖ Frst Wrldwor sw a flurišñ v Britiš ātistc xprešn, rzultñ in ɖ criešn v a ny žãra: worāt.
Ātists sč az CRW Nevinsn, Pwl Naš n Wiłm Ōpn xperimentd wɖ ny fwmz v āt t rflct ẇt ɖe sw n dpict ɖ riaḷti v ɖ frst tôtl wor. Z ɖ āt crietd jrñ ɖ Frst Wrld Wor trūli ōʈntc or pāt v ɖ propganda srândñ Britn’z wortîm ef̣ts?”
BROTHERS IN ART, JOHN & PAUL NASH │ Royal West of England Academy, Bristol → 14 September 2014
A Glostršr Landscep, Jon Nwʈcot Naš, ýl on canvs, 1914
“Bruɖrz in Āt… rīynîts ɖ wrc v Jon n Pwl Naš. It fīčrz ovr forti pêntñz, wōtrculrz n drōñz fṛm public n prîvt c̣lẋnz, pṛvîdñ a ynīc oṗtynti t vy ɖ tu siblñz’ wrc sîdbîsîd, xplord wɖn ɖ pârfl contxt v conflict n memri.
Ɖ xibišn bginz its naṛtv in Nvembr 1913 wɖ ɖ bruɖrz’ jýnt xibišn at ɖ Dwrı̣n Lì Gaḷri, Lundn, folowñ ẇč Pwl dclerd ɖm qt ɖ rîzñ yuñ men. Ɖ šo’z pôstr fīčrz bʈ bruɖrz standñ sîdbîsîd agnst a bacdrop v fīldz n hiltops. Hir, nesld btwn Pwl’z monymntl clumps n Jon’z sweyñ ẇītšīvz, lîz ɖ fôc̣s v ɖs xibišn. Bʈ bruɖrz’ āt wz imrst in landscep n nêčr, rtrnñ t fīldz, wŭdḷndz n šorlînz ʈrt ɖer lîvz. Ɖe šerd a ynīc we v lcñ at ɖ land, šêpt bî čîldhd pastîmz n ɖ travsti v wor – bʈ wr apýntd Ofišl Wōrātists in ɖer c̣rirz. Hvr, ẇraz Pwl went on t xperiment wɖ abstraẋn n sriylizm, n z nâ wîdli recgnîzd az a mêjr figr in twentiiʈ senčri Britiš āt, Jon, cnsistnt in hiz âtpt, rmenz on ɖ ṗrif̣ri.
Inṭwivñ ɖ bruɖrz’ tu vri dfṛnt naṛtvz aftr 1913, ɖ xibišn xplorz ɖ nošn v bʈ indivijl n c̣lctv memri ʈru ɖ hwntñ byti v ɖ Ñgliš landscep: prīhistoric saits, wōtrwez n ênčnt copsz bild upn wn anɖr lîc leyrd memriz. Az wel az rerli sīn prîvt-c̣lẋn wrcs, ɖ xibišn fīčrz sm v ɖer most fmiłr landsceps, sč az Ɖ Cwnfīld, 1918, bî Jon Naš n Druid Landscep, 1938, bî Pwl Naš. It lūsli foloz ɖer dvrjnt paɖz, rīcnsidrñ ɖ plêsz n cuntrīsîd ẇč ɖe luvñli rīṇgosietd n riimajind aftr ɖ trwma v nt wn, bt tu, wrldworz, telñ ɖ stwri v ɖ bruɖrz Naš, hūz lîvz wr inṭruptd n ɖus f̣revr lnct wɖ ɖ memri v conflict.”