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Nevinson's Returning to the Trenches: a column of French soldiers marching with rifles, broken into hard, angular Futurist forms.
C. R. W. Nevinson, Returning to the Trenches, 1914 to 1915. National Gallery of Canada, Ottawa. Public domain, via Wikimedia Commons.

C.R.W. Nevinson valuation

Futurist painter of the First World War, whose machine-like soldiers made him the most famous young artist in England.

C. R. W. Nevinson was born in London in 1889, the son of the war correspondent Henry Nevinson, and studied at the Slade under Henry Tonks, alongside Stanley Spencer and Mark Gertler, and then in Paris in 1912 and 1913.

What a work by C.R.W. Nevinson is worth

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Bio

C. R. W. Nevinson was born in London in 1889, the son of the war correspondent Henry Nevinson, and studied at the Slade under Henry Tonks, alongside Stanley Spencer and Mark Gertler, and then in Paris in 1912 and 1913. He befriended the Futurist Filippo Tommaso Marinetti and co-signed with him the manifesto Vital English Art in 1914, falling out with Wyndham Lewis and the Vorticists. At the outbreak of war he served with the Friends' Ambulance Unit and the Royal Army Medical Corps, and the paintings he made from that experience, La Mitrailleuse and Returning to the Trenches among them, used the angular forms of Futurism and Cubism to show the war as a machine. In 1917 he became an official war artist and painted in a more realist manner. Later he painted New York and London, and he died in London in 1946.

Nevinson was a prolific printmaker, and his drypoints, lithographs and etchings, especially the war subjects, come up often; they were issued in editions, so the impression and the state matter. Paintings are rarer, the war paintings above all, and many are at the Imperial War Museum and Tate.

The Slade, the Futurists and La Mitrailleuse

Walter Sickert wrote that La Mitrailleuse, of 1915, now at Tate, would probably remain the most authoritative and concentrated utterance on the war in the history of painting.

He was made a Chevalier of the Légion d'honneur in 1938 and an Associate of the Royal Academy in 1939, and in the Second World War he painted airmen preparing for the Dieppe raid.

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