Hanging a Rebel: The Life of C.R.W. Nevinson

The first comprehensive study of the life and work of C.R.W. Nevinson, an important painter and writer whose name is re-emerging to take its rightful place among the established icons of art and literature in early 20th century England.

Numerous previous accounts remember Nevinson solely as a Futurist and war painter. However, in recent years there has been a revival of academic interest in his role in the inter-war period and the Second World War, and with it, the need for a full study of his life and works. Painter, social commentator, novelist and society host, Nevinson can now be remembered as one of the most prominent and distinguished artists of his generation.

In this interdisciplinary work, Walsh presents a thorough analysis of Nevinson’s artistic achievements, explaining his problematic relationships with contemporaries like Wyndham Lewis, Roger Fry, Amadeo Modigliani, H.G. Wells and George Bernard Shaw.

This book gives the reader a wider understanding of the changing cultural landscape of Britain between 1889 and 1946 and introduces the figure of C.R.W. Nevinson in context, providing an objective and captivating account of his explosive and multi-layered personality.

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Artists Biography

(b London, 13 Aug 1889; d London, 7 Oct 1946). English painter. Son of H. W. Nevinson, the war correspondent and author, he studied painting at St John’s Wood, London, in 1908, although his formative years as a student were spent at the Slade School of Art (1909–12) in London. He was influenced by Impressionism and Post-Impressionism, as well as Sandro Botticelli, as seen from an early Self-portrait (1911; London, Tate). The Futurist Exhibition of March 1912, held at the Sackville Gallery, London, proved decisive for his development. He met Gino Severini and returned with him to Paris where he encountered Umberto Boccioni, Ardengo Soffici, Guillaume Apollinaire and Amedeo Modigliani. He continued his studies at the Académie Julian and the Cercle Russe in Paris, announcing his affiliation with Futurism by exhibiting a painting called Rising City (1912; lost) in the Friday Club exhibition of January 1913. Its title was a homage to Boccioni’s painting, City Rises (1910; New York, MOMA), which had been shown at the Futurist Exhibition.

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