Terrible times: poverty and unemployment everywhere around; right-wing strongmen and populists in power overseas; and the shadow of war hanging over it all. Times for artists to take a stand. And, in the 1930s, some of them did, forming a group in London called the Artists International Association. Their story is the subject of Comrades in Art: Artists against Fascism at Towner Eastbourne, a show with a lot of very interesting art amid fascinating history -- but rather too much detail to absorb easily. There are many little-known or unknown names to conjure with, and it's a big exhibition; this is a venue where you never feel short-changed. Let's plunge straight into the action, because it's all kicking off in Trafalgar Square, where the police are going in violently against protesters who've arrived in London after a hunger march against unemployment. The Struggle between the Unemployed and the Police Forces (also known as Hunger Marchers Entering ...
It's a beguiling, entrancing landscape, yet somehow also very reassuring. The year is 1918, and John Nash is back in England after many months of service on the Western Front in World War I, one of the few survivors from his company. While working by day on paintings to commemorate the conflict as an official war artist, in the evening he's able to leave the memories of the slaughter behind to work for himself, on pictures that purged the horror of the trenches. This is The Cornfield , and it's probably the stand-out painting in a really outstanding exhibition at Towner Eastbourne, John Nash: The Landscapes of Love and Solace , the first retrospective devoted to the life and work of the artist, the less well-known younger brother of Paul Nash, in more than half a century. You can see in this painting a fascination with shapes, patterns and shadows that characterises the best of Nash's landscapes: the angular forms of the row of corn sheaves, their edges highlighted by t...