Nash, Paul - Surrealismo
The Pyramids in the Sea, 1912
Ink and watercolour on paper
336 x 298 mTate Gallery, London
The Orchard - ?1914
Watercolour, ink and pencil on paper
575 x 482 mm
Tate Gallery, London
Beeches in the Wind, 1918
Pen ink and watercolour on paper
Height: 52.5 cm, Width: 40 cm
Aberdeen Art Gallery and Museums, Scotland
Behind the Inn, 1919-22
Oil on canvas
635 x 762 mm
Tate Gallery, London
Dymchurch - The Strange Coast, 1920
Lithographic crayon and ink on paper
Height: 31.3 cm, Width: 40.7 cm
Aberdeen Art Gallery and Museums, Scotland
Promenade II, 1920
Wood-engraving on paper
137 x 156 mm
Tate Gallery, LOndon
Palings, 1924-1925
Graphite, watercolour on paper
Height: 56.5 cm; Width: 38.8 cm
Courtauld Institute of Art, London, UK
Mimosa Wood, 1926
Oil on canvas
54.1 x 65.2cm
Art Gallery of New South Wales, Sydney, Australia
Beach, 1928
Oil on canvas
72.8 x 49.5 cm
National Museums and Galleries of Wales
Northern Adventure, 1929
Oil on canvas
Height: 92.7 cm, Width: 71.6 cm
Aberdeen Art Gallery and Museums, Scotland
Wood on the Downs, 1929
Oil on canvas
Height: 71.5 cm, Width: 92 cm
Aberdeen Art Gallery and Museums, Scotland
Landscape at Iden, 1929
Oil on canvas
698 x 908 mm
Tate Gallery, London
Kinetic Feature, 1931
Oil on canvas
660 x 508 mm
Tate Gallery, London
Whiteleaf Cross, 1931
Oil on canvas
54 x 76 cm
Whitworth Art Gallery
Mansions of the Dead, 1932
Pencil and watercolour on paper
578 x 394 mm
Tate Gallery, London
Harbour and Room, 1932-6
Oil on canvas
914 x 711 mm
Tate Gallery, London
Voyages of the Moon, 1934-7
Oil on canvas
711 x 540 mm
Tate Gallery, London
Landscape at Large, 1936
Paper collage, wood (pine) and shale on paper
470 x 578 x 43 mm
Tate Gallery, London
Landscape from a Dream - 1936-8
Oil on canvas
679 x 1016 mm
Tate Gallery, London
Only Egg, c. 1937
Mixed media
height 21.3 cm
Private Collection
Grotto in the Snow, 1939
Oil on canvas
718 x 489 mm
Tate Gallery, London
London: Winter Scene, No. 2, 1940
Pencil and watercolour on paper
289 x 394 mm
Tate Gallery, London
The Battle of Britian, 1940
Oil on canvas
Imperial War Museum, London
Bomber in the Corn, 1940
Pencil and watercolour on paper
394 x 578 mm
Tate Gallery, London
The Messerschmidt in Windsor Great Park, 1940
Pastel, pencil, and watercolour on paper
400 x 578 mm
Tate Gallery, London
Totes Meer (Dead Sea), 1940-1
Oil on canvas
1016 x 1524 mm
Tate Gallery, London
November Moon, 1942
Oil on canvas
Fitzwilliam Museum, Cambridge, UK
Sunflower and sun, 1942
Oil on canvas
51.1 x 76.5cm
Art Gallery of New South Wales, Sydney, Australia
Kimmerigian Ghost. The Turtle, 1942
Graphite, watercolour, wax-crayon on paper
Height: 40.1 cm; Width: 57.8 cm
Courtauld Institute of Art, London, UK
Landscape of the Brown Fungus, 1943
Oil on canvas
50.80 x 76.40 cm
National Galleries of Scotland, Edinburgh
Landscape of the Moon's last phase, 1943/44
Oil on canvas
63.5 x 75.8cm
National Museums Liverpool, UK
Wittenham Clumps, circa 1943-4
Oil and pencil on canvas
633 x 757 mm
Tate Gallery, London
Landscape of the Vernal Equinox (III), 1944
Oil on canvas
63.50 x 76.20 cm
National Galleries of Scotland, Edinburgh
Flight of the Magnolia, 1944
Oil on canvas
511 x 762 x 22 mm
Tate Gallery, London
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Em "Totes Meer (Dead Sea), 1940-1", uma imagem terrível de um vasto e estático mar de destroços metálicos é uma transformação imaginativa e visionária de uma série de fotografias tiradas pelo artista numa sucate de aviões alemães perto de Oxford. Asas, rodas e fuselagens são discerníveis nesta massa de peças de metal. Um luar sombrio envolve toda a cena e evoca uma estranha atmosfera de morte e destruição. Trata-se de um dos registos mais convincentes de Nash como artista oficial de guerra do Ministério do Ar durante a II Guerra Mundial, captando as tragédias e os triunfos daqueles anos amargamente vitoriosos. Embora influenciado pelo Surrealismo, Nash permaneceu essencialmente um artista de paisagens visionárias. O conteúdo dramático das suas obras é por vezes associado ao Neo-Romantismo, tendência com um estilo de pintura muito teatral e romântico. O seu trabalho inclui gravuras, ilustrações de livros, desenho industrial e fotografia. Paul Nash nasceu em Londres (GB) em 1889 e morreu em Boscombe em 1946.
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Paul Nash born May 11, 1889, London, England, died July 11, 1946, Boscombe, Hampshire - 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 of Fine Art in London. In 1914 he enlisted in the Artists' Rifles to serve in World War I. Appointed an official war artist by the British government in 1917, he created scenes of war such as The Menin Road (1919), a shattered landscape painted in a semiabstract, Cubist-influenced style. After the war Nash lived in Kent, a county in southeastern England, where he painted seascapes and landscapes in cool yet vibrant colours. In the late 1920s he became interested in Italian artist Giorgio de Chirico's mysterious landscapes, and he subsequently experimented with Surrealist techniques as well as abstraction. In paintings such as Landscape at Iden (1929–30), Nash employed an exaggerated perspective common in Surrealist art, and his compositions became increasingly dreamlike and illogical, as in Harbour and Room (1932–36). He was largely responsible in 1933 for founding Unit One, a group of British artists—including abstract painter Ben Nicholson and the sculptors Barbara Hepworth and Henry Moore—who wanted to promote avant-garde art in England. Nash was one of the organizers of the International Surrealist Exhibition in London in 1936, and he also exhibited his work there. In 1940 Nash again served as an official war artist for England. One of his best-known paintings of World War II was Totes Meer (1940–41; “Dead Sea”), in which he depicted a field of wrecked warplanes as turbulent ocean waves. In his last paintings he turned to an imaginative poetic symbolism that included images of flowers and references to mythology and the seasons.
Encyclopedia Britannica
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on Terça-feira, Maio 22, 2007 at 6:20 PM.
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10:38 PMJG,
Uma vez descoberto este blog, não tenho deixado de vir aqui assiduamente... Contudo, não pude deixar de dar os parabéns pelo artigo de Paul NASH... Ainda não tinha tido a oportunidade de ver tantos quadros... Só a meia dúzia que a TATE vai expondo... Deste modo fica aqui o obrigado e os parabéns pelo trabalho aqui apresentado!!!
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