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Landscape Between the Wars

In the wake of the First World War (1914–1918) many British artists turned away from the mechanistic forms of abstract art that had come to be associated with the destructive forces of war and instead employed more conventional means of representation. David Bomberg and C.R.W. Nevinson, who had both been associated with the avant-garde Vorticist Group before the War, employed more traditional approaches to painting in the decades after. Like Mark Gertler, who had been a pacifist when he painted his tranquil view of Swanage in 1916, artists sought a sense of solace in the landscape.

In Britain the ‘return to order’ found its strongest expression in the depiction of landscape, a symbol of national pride and identity. In the early twentieth century the countryside was undergoing rapid changes due to increasing industrialisation and sub-urbanisation. In general, artists rejected the notion of progress and were selective in their portrayal of a rural idyll that was far removed from the beaten track or, in the case of Matthew Smith, Ben Nicholson, and David Bomberg, all represented in the Collection, journeyed to the Mediterranean and beyond to discover uncharted and unspoilt landscapes.

Key Collection works include: 'Wittenham' (1935) by Paul Nash and 'The South East Corner of Jerusalem' (c.1926) by David Bomberg.