LONDON - Paul Nash, and his younger brother John are today recognised as two of the finest landscape artists of the past century, and September boasts two captivating exhibitions showcasing very different aspects of the artists’ oeuvres. Whilst the recently re-vamped Imperial War Museum includes the brothers alongside contemporaries including Sargent, Nevinson and Orpen in their exhibition Truth and Memory: British Art of the First World War (until 8th March 2015) in a focus on their work as official War Artists, The Royal West of England Academy in Bristol showcases the single genre of landscape painting in Brothers in Art: John and Paul Nash (until 14th September 2014). In the Bristol show, drawn largely from public collections across Britain, we see the development of their approach towards the landscape genre, and the very different paths that each brother took following the end of the First World War.


Paul Nash’s Path, 1922. Offered in Modern & Post-War British Art, 18th November 2014, £120,000-180,000.

As John finished painting The Moat, Grange Farm, Kimble in 1922, which features within the Bristol show, Paul set to work on Path, appearing as part of our upcoming sale of Modern & Post-War British Art on 18 November, a stunning painting appearing for the first time at auction, and for the first time in public since its purchase in London in the 1930s.


Paul Nash, 1924. Photographs by Lance Sieveking.

Following the death and destruction of the First World War the Nash brothers returned to the most English of genres in their depiction of the traditional English landscape, and it was through his younger brother John that Paul learnt to explore the depths of painting in oil, developing his own soft painterly technique with a subtle palette of dusty greens and tawny browns. Although almost at a close, the Bristol show really is a fantastic chance to see some of the finest examples of each brother’s work, firmly securing their position as leaders of the landscape genre within the field Modern British painting.

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