"We are Making a New World" - by Paul Nash. 1918.  The destruction and desolation of the First World War. Given extra impact by the painting's title.

"We Are Making a New World" was painted by Paul Nash in The setting in this painting is Inverness Copse, which was the scene of German resistance during the British offensive in the summer of Paul Nash was commissioned as an official war artist.

Nash, Paul (1889-1946) - 1917-18 The Ypres Salient at Night (Imperial War Museum, London)    Oil on canvas; 71.1 x 91.4 cm.    Paul Nash, British painter, printmaker, illustrator, and photographer who achieved recognition for the war landscapes he painted during both world wars. Nash studied at the Slade School. Appointed an official war artist by the British government in 1917, he created scenes of war in a semi-abstract landscape manner

Nash, The Ypres Salient at Night - Paul Nash (artist) - Wikipedia, the free encyclopedia

This summer, the Tower Of London will be surrounded by a sea of crimson. This installation, conceived by artist Paul Cummins and designer Tom Piper, will commemorate each and every British or Colonial fatality from World War 1 by planting 888, 246 red ceramic poppies in a flowing sea around the tower.

This installation, conceived by artist Paul Cummins and designer Tom Piper, will commemorate each and every British or Colonial fatality from World War 1 by planting 246 red ceramic poppies in a flowing sea around the tower.

paul nash war art - Google Search

Stand To Before Dawn, by John Nash. The British war artist John Nash…

paul nash war art - Google Search

IWM ART image: a view of bomb damaged Inverness Copse on the Western Front;

"We are Making a New World" by Paul Nash (1918). Nash's paintings from World War One contained an explicit and angry anti-war message.

"We Are Making a New World" was painted by Paul Nash in The setting in this painting is Inverness Copse, which was the scene of German resistance during the British offensive in the summer of Paul Nash was commissioned as an official war artist.

Paul Nash, ‘The Mule Track’ (1918) In The Mule Track, Nash presents the viewer with another terrifying scene. Amidst the chaos of a heavy bombardment the small figures of a mule train are trying to cross the battlefield. They are reduced to defenceless puppets at the mercy of terrible forces.

Paul Nash and World War One: ‘I am no longer an artist, I am a messenger to those who want the war to go on for ever… and may it burn their lousy souls’

'Wire' by Paul Nash (1918). We assume that it is winter from the degraded palette, but it could just be the winter of the soul – war allows no other season than that of desolation. There is a long tradition in Western landscape art of decaying tree stumps as symbols of destroyed civilisations. In sixteenth and seventeenth-century landscapes such signs of decay signify renewal, but in this modern work about the horrors of war, rebirth has been suspended.

Correspondence in the Imperial War Museum between Nash and the Ministry of Information reveal that the picture was substantially complete towards the end of 1918 and that Nash planned, but did not execute, a li - Paul Nash (artist) - Wikipedia

'Spring in the Trenches' by Paul Nash (1918).

Spring in the Trenches, Ridge Wood, 1917 (Art. IWM ART - Paul Nash (artist) - Wikipedia, the free encyclopedia


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