In 1935 Paul Nash asked if it was possible to ‘Go Modern and Be British’. As a painter of landscapes, Nash’s solution to this apparent conundrum came through his choice of subject (particular places) combined with his adoption of a deliberate visual language.
Nash wasn’t alone in finding meaning in the British landscape – its features, its feelings, its use and its history. In fact, modernist artists in Britain often sought to negotiate the rapidly changing relationships between humanity and the environment, conceiving of landscape as natural, but also as spaces with social and political inferences.
This focus on place and the land may be attributed to a kind of artistic obsession or compulsion – itself adopted as a ‘professional persona’ by modernist artists. In addition the ‘spirit of place’ was also part of a modernist goal to investigate new ideas through visual means – whether that be the ‘primitive’ in the paintings of Alfred Wallis, Christopher Wood and Ben Nicholson, the sense of the uncanny in Paul Nash’s landscapes, the “Englishness” of Eric Ravilious, Gilbert Spencer and John Nash, the spirituality of Barbara Hepworth’s sculpture or the abstract expression of Peter Lanyon and Wilhelmina Barns-Graham.
This course is part of the Oxford University Summer School for Adults (OUSSA) programme.