Paul Nash (11 May 1889 – 11 July 1946) was a British surrealist painter and war artist, as well as a photographer, writer and designer of applied art. Nash was among the most important landscape artists of the first half of the twentieth century. He played a key role in the development of modernism in English art.
Born in London, Nash grew up in Buckinghamshire where he developed a love of the landscape. He entered the Slade School of Art but was poor at figure drawing and concentrated on landscape painting. Nash found much inspiration in landscapes with elements of ancient history, such as burial mounds, Iron Age hill forts such as Wittenham Clumps and the standing stones at Avebury in Wiltshire. The artworks he produced during World War I are among the most iconic images of the conflict. After the war Nash continued to focus on landscape painting, originally in a formalized, decorative style but, throughout the 1930s, in an increasingly abstract and surreal manner. In his paintings he often placed everyday objects into a landscape to give them a new identity and symbolism.
During World War II, although sick with the asthmatic condition that would kill him, he produced two series of anthropomorphic depictions of aircraft, before producing a number of landscapes rich in symbolism with an intense mystical quality. These have perhaps become among the best known works from the period. Nash was also a fine book illustrator, and designed stage scenery, fabrics and posters.
He was the elder brother of the artist John Nash.
Nash was the son of a successful barrister, William Harry Nash, and his wife Caroline Maude, the daughter of a captain in the Royal Navy. He was born in Kensington and grew up in Earl's Court in West London, but in 1902 the family moved to Iver Heath in Buckinghamshire. It was hoped the move to the countryside would help Caroline Nash, who was increasingly showing symptoms of mental illness. The growing cost of Caroline Nash's treatment led to the house at Iver Heath being rented out while Paul and his father lived together in lodgings and his younger sister and brother went to boarding schools. On Valentine's Day 1910, aged forty-nine, Caroline Nash died in a mental institution.
Paul Nash was originally intended for a career in the Navy, following the path of his maternal grandfather, but despite additional training at a specialist school in Greenwich, he failed the Naval Entrance Examination and returned to finish his schooling at St Paul's School. Encouraged by a fellow student at St Paul's, Eric Kennington, Nash considered the possibility of a career as an artist. After studying for a year at the South-Western Polytechnic in Chelsea, he then enrolled at the London County Council School of Photo-engraving and Lithography, in Bolt Court off Fleet Street, in the autumn of 1908. Nash spent two years studying at Bolt Court, where he began to write poetry and plays and where his work was spotted and praised by Selwyn Image. He was advised by his friend, the poet Gordon Bottomley, and by the artist William Rothenstein, that he should attend the Slade School of Art at University College, London. He enrolled in October 1910, though he later recorded that on his first meeting with the Professor of Drawing, Henry Tonks, 'It was evident he considered that neither the Slade, nor I, were likely to derive much benefit'.
The Slade was then opening its doors to a remarkable crop of young talents – what Tonks later described as the school's second and last 'Crisis of Brilliance'. Nash's fellow students included Ben Nicholson, Stanley Spencer, Mark Gertler, William Roberts, Dora Carrington, C. R. W. Nevinson, David Bomberg and Edward Wadsworth. Nash struggled with figure drawing, and spent only a year at the school. Nash had shows in 1912 and 1913, sometimes with his brother John, largely devoted to drawings and watercolours of brooding landscapes, influenced by the poetry of William Blake and the paintings of Samuel Palmer and Dante Gabriel Rossetti.
Two locations in particular featured in his landscape work at this time, the view from his father's house in Iver Heath and a pair of tree-topped hills in the Thames Valley known as the Wittenham Clumps. These were the first in a series of locations, which would eventually include Ypres, Dymchurch, the Romney Marshes, Avebury and Swanage, that would inspire Nash in his landscape paintings throughout his life. By the summer of 1914 Nash was enjoying some success and during that year he worked briefly at the Omega Workshops under Roger Fry and also worked with him on restoring the Mantegna cartoons at Hampton Court Palace.
He was elected to The London Group in 1914.
On 10 September 1914, shortly after the start of World War I, Nash reluctantly enlisted in the Territorial Force as a private for home service. Initially he served with the Artists' Rifles, formally the 28th (County of London) Battalion of the London Regiment. Nash's duties, which included guard duty at the Tower of London, allowed him time to continue drawing and painting.
In December 1914 Nash married Jerusalem-born Margaret Theodosia Odeh, an Oxford-educated campaigner for Women's Suffrage, at St Martin-in-the-Fields, Trafalgar Square. Her father, Revd Naser Odeh, who was born in Palestine and educated at Monkton Combe School, had been the founding priest in charge of St Mary's Mission and the pro-cathedral, Cairo. Margaret was naturalised British in 1912. The couple had no children.
Nash began officer training in August 1916 and was sent to the Western Front in February 1917 as a second lieutenant in the Hampshire Regiment. He was based at Saint-Eloi on the Ypres Salient at a relatively quiet time and although the area did come under shelling, no major engagements took place while he was there. Whilst clearly aware of the destruction that had taken place there, he was delighted to see that, with spring arriving, the landscape was recovering from the damage inflicted on it. However, on the night of 25 May 1917, Nash fell into a trench, broke a rib and, by 1 June, had been invalided back to London. A few days later the majority of his former unit were killed in an assault on a position known as Hill 60. Nash considered himself lucky to be alive. While recuperating in London, Nash worked from sketches he had done at the Front to produce a series of twenty drawings, mostly in ink, chalk and watercolours, of the war. Whilst some of these pieces showed the influence of the Vorticist movement and their manifesto, the literary magazine BLAST, the majority concerned the spring landscape and were similar in tone to his pre-war work. Chaos Decoratif, for example, shows part of a trench and a shattered tree amid a scene of almost pastoral calm. The collection was well received when exhibited in June that year at the Goupil Gallery. A further exhibition of these drawings was held in Birmingham in September 1917. As a result of these exhibitions, C. R. W. Nevinson advised Nash to approach Charles Masterman, head of the government's War Propaganda Bureau, to apply to become an official war artist. Nash was with a reserve battalion near Portsmouth, preparing to return to France in a combat role, when he received word that his commission as a war artist had been approved.
Official war artist – Belgium, 1917
In November 1917 Nash returned to the Ypres Salient as a uniformed observer with a batman and chauffeur. At this point the Third Battle of Ypres was three months old and Nash himself frequently came under shellfire after arriving in Flanders. The winter landscape he found was very different from the one he had last seen in spring. The system of ditches, small canals and dykes which usually drained the Ypres landscape had been all but destroyed by the constant shellfire. Months of incessant rain had led to widespread flooding and mile upon mile of deep mud. Nash was outraged at this desecration of nature. He believed the landscape was no longer capable of supporting life nor could it recover when spring came. Nash quickly grew angry and disillusioned with the war and made this clear in letters written to his wife. One such written, after a pointless meeting at Brigade HQ, on 16 November 1917 stands out,