Nevinson, war painter, but as I say.

Christopher R.W. Nevinson, born August 13, 1889 in London, had the War circulating around his house. The father was a war correspondent and the mother fought for women's right to vote.

The drawing teacher clearly explained to him why he had to abandon any artistic ambition. So in 1911 Nevinson moved to Paris.

He shared the study with Amedeo Modigliani, met Filippo Marinetti, absorbing Futurism, and Picasso, learning Cubism.

The war returns punctually and worldwide in 1914. Nevinson is a convinced pacifist and conscientious objector and so he is enlisted as an ambulance driver.

For one of the paradoxes of life his paintings are liked by the Armed Forces and he becomes a "war painter". One for all: “The machine gun”. But those who are in war do not live like those who declare war in sumptuous and rich palaces and, obviously, they do not go to war.

Nevinson tells of the suffering, of dead children, of the wounded abandoned to rot, of glorious soldiers to act as fertilizer and the censorship is triggered.

Exactly like today where, despite being surrounded by wars, the images are limited to spectacular nocturnal fireworks, like a village festival.

The pacifist C.R.W. Nevinson becomes famous for painting war.

In 1939 there was another world war and the UK government recalled Nevinson as a war painter.

All of his ground war cadres are rejected; pictures of aerial battles are welcome, where the man ... is not seen.

At the end of the war a stroke hit Nevinson who in 1946 died as if he were one of the many soldiers he painted, victims of one of the most senseless activities of man: to produce death and suffering.