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Books : Arts & Photography : Artists, A-Z : ( M-O ) : Nash, Paul
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Although North Carolina was a "home front" state rather than a battlefield state for most of the Civil War, it was heavily involved in the Confederate war effort and experienced many conflicts as a result. North Carolinians were divided over the issue of secession, and changes in race and gender relations brought new controversy. Blacks fought for freedom, women sought greater independence, and their aspirations for change stimulated fierce resistance from more privileged groups. Republicans and Democrats fought over power during Reconstruction and for decades thereafter disagreed over the meaning of the war and Reconstruction.With contributions by well-known historians as well as talented younger scholars, this volume offers new insights into all the key issues of the Civil War era that played out in pronounced ways in the Tar Heel State. In nine essays composed specifically for this volume, contributors address themes such as ambivalent whites, freed blacks, the political establishment, racial hopes and fears, postwar ideology, and North Carolina women. These issues of the Civil War and Reconstruction eras were so powerful that they continue to agitate North Carolinians today.
Contributors include David Brown, Judkin Browning, Laura F. Edwards, Paul D. Escott, John C. Inscoe, Chandra Manning, Barton A. Myers, Steven E. Nash, Paul Yandle, and Karin Zipf. The editor is Paul D. Esco
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An analysis of the themes and visual symbolism in the work of one of the great pioneers of British Modernism.
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The art of Paul Nash drew heavily on William Blake, Samuel Palmer and Dante Gabriel Rosetti, and on Nash's close relationship with the poetry of the English countryside, leading to his characterisation as an 'essentially English' artist. But Nash also produced some of the most imaginative responses by a British artist to the thrilling potential of European modernism, experimenting with abstraction and helping to establish the Surrealist movement in Britain. Nash's consistent advocacy of the avant-garde combined with his passionate attachment to the English landscape established him as one of the most influential British artists of the twentieth century, making this a welcome addition to the Tate's British Artists series.
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The brothers Paul and John Nash, in their very different ways, were a major influence on twentieth century British design. Paul Nash (1889-1946) is now recognised as the most significant war artist of the last century; John Nash (1893-1977) as a plantsman artist. Both worked as designers and as tutors at the Royal College of Art, Paul encouraging a generation of designer artists that included Eric Ravilious, Edward Bawden and Enid Marx. As a committee member of the Design and Industries Association and President of the newly formed Society of Industrial Artists (now the Chartered Society of Designers) Paul promoted design as no less an art form than the fine arts of painting and sculpture. His clients included London Transport, Shell and Curwen Press and publishers the Nonesuch and Golden Cockerel Presses. John became well known for his Edward Lear influenced humorous illustrations and his superb plant drawings and wood engravings that illustrate innumerable books and publications. Paul Nash and
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This digital document is an article from Papers of the Bibliographical Society of Canada, published by Bibliographical Society of Canada on September 22, 1999. The length of the article is 1168 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Folio 50: a bibliography of the Folio Society 1947-1996.
Publication: Papers of the Bibliographical Society of Canada (Refereed)
Date: September 22, 1999
Publisher: Bibliographical Society of Canada
Volume: 37 Issue: 2 Page: 69-71
Article Type: Book Review
Distributed by Thomson Gale
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Based on the first complete study of Nash's personal papers in the Tate Gallery Archive, this study of the artist's development relates the pictures to contemporary development in British and Continental painting, and points to the existence of extensive autobiographical references in his work.
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