DOI Heft:
No. 321 (December 1919)
DOI Artikel:Salaman, Malcolm C.: The art of C. R. W. Nevinson
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21359#0106
THE ART OF C. R. W. NEVINSON
“ SUR LES FORTIFICATIONS
DE PARIS.” OIL PAINTING
BY C. R. W. NEVINSON
are made and continued by original per-
sonalities in art, and Nevinson is distinctly
an original personality, though, of course,
at his age, not yet full-statured, and I am
convinced that he has much of remarkable
art in him to develop before he arrives at
his full artistic stature. But ere then he
will have realized that contemporary art is
in no serious danger of “ abstractions,"
and the very fact that they interested so
curious and self-reliant an artist as himself
in merely an experimental phase should
convince him of this. Meanwhile, as we
saw at the Leicester Galleries, he is find-
ing his real artistic self in all manners of
expression. His visit to New York last
summer opened out for him new graphic
vistas. 0 0 0 0 0
Nevinson's pictorial interest seems to
become more and more varied, while his
100
expression is ever full of adventure, in-
genuity, and vitality. Our necessarily few
illustrations give but little idea of its range,
but even among these seven pictures we see
the artistic alertness of his vision for various
aspects of landscape, for the crowded
buildings of a city, for decorative portrai-
ture, for the common episode of cafe life,
and the luminous colour-effect of a Thames
regatta nocturne. Nor is his interest in
the graphic mediums less various and
experimental than it is in pictorial subject
and motive. Problems of black and white
engage him as keenly as those of colour,
and he explores the technique of litho-
graphy, etching, mezzotint, woodcut, as
artistically as he handles oil-paint, water-
colour or pastel. The painter of The
Sandy Path should count for much in the
future of British art. 000
“ SUR LES FORTIFICATIONS
DE PARIS.” OIL PAINTING
BY C. R. W. NEVINSON
are made and continued by original per-
sonalities in art, and Nevinson is distinctly
an original personality, though, of course,
at his age, not yet full-statured, and I am
convinced that he has much of remarkable
art in him to develop before he arrives at
his full artistic stature. But ere then he
will have realized that contemporary art is
in no serious danger of “ abstractions,"
and the very fact that they interested so
curious and self-reliant an artist as himself
in merely an experimental phase should
convince him of this. Meanwhile, as we
saw at the Leicester Galleries, he is find-
ing his real artistic self in all manners of
expression. His visit to New York last
summer opened out for him new graphic
vistas. 0 0 0 0 0
Nevinson's pictorial interest seems to
become more and more varied, while his
100
expression is ever full of adventure, in-
genuity, and vitality. Our necessarily few
illustrations give but little idea of its range,
but even among these seven pictures we see
the artistic alertness of his vision for various
aspects of landscape, for the crowded
buildings of a city, for decorative portrai-
ture, for the common episode of cafe life,
and the luminous colour-effect of a Thames
regatta nocturne. Nor is his interest in
the graphic mediums less various and
experimental than it is in pictorial subject
and motive. Problems of black and white
engage him as keenly as those of colour,
and he explores the technique of litho-
graphy, etching, mezzotint, woodcut, as
artistically as he handles oil-paint, water-
colour or pastel. The painter of The
Sandy Path should count for much in the
future of British art. 000