Contact our concierge if you need an instant response from any team at Camron.
  • London
    7th Floor,17 Slingsby Place
    London, WC2E 9AB
    Tel: +44(0)20 7420 1700
  • New York
    270 Lafayette St, Suite 600
    New York, NY 10012
    Tel: +1 917 675 4380
  • Los Angeles
    555 West 5th St, 35th floor
    Los Angeles, CA 90013
    Tel: +1 917 602 4351
Follow Us
Registered in England no. 1331647 at the London address above. Vat no. 235 353671
Intelligence Paul Nash Retrospective

Tate Britain’s retrospective on painter Paul Nash traces his evolution from the 1910s until his death in 1947 and chronicles his changing style under influences ranging from William Blake to Surrealists such as de Chirico. The retrospective is extensive, revealing a painter whose interest in various movements left him without a clear style of his own; however; his unique painterly perspective and mind ravaged by two World Wars imbue the works with mystery and eccentricity.

Nash’s paintings of World War I are dynamic and powerful, disorienting the viewer with bold geometric renderings of landscapes decimated by war. The most fascinating room in the exhibition was the one that held Nash's landscapes of the English countryside done directly after the war as he dealt with the fallout of post-traumatic stress syndrome. Nash created would-be bucolic landscapes haunted by conflict: cleft plains echo trenches and ponds dig through hills as aggressive as pits left by grenades.

Nash's paintings of World War II lack the shock value of his World War I works and those immediately following; perhaps having lived through two World Wars robbed him of optimism: the early works scream with terror and the later works show a sort of acceptance of a world of gunmetal and blood.

Credit for thumbnail:
Paul Nash 1889–1946
Landscape from a Dream


Paul Nash 1889–1946
Blue House on the Shore
Oil on canvas


Paul Nash 1889–1946
Spring in the Trenches, Ridge Wood, 1917
Imperial War Museum, London


Paul Nash 1889–1946
Battle of Germany
Imperial War Museum, London


Paul Nash 1889–1946
Totes Meer (Dead Sea)
Oil on canvas
Support: 1016 x 1524 mm
frame: 1170 x 1680 x 97 mm
Tate. Presented by the War Artists Advisory Committee, 1946

Paul Nash 1889–1946
Equivalents for the Megaliths
Oil on canvas
support: 457 x 660 mm frame: 627 x 835 x 80 mm


Paul Nash 1889–1946
The Rye Marshes
Ferens Art Gallery

Posted by
Kerry Lynch