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Student Artwork Guide

Coronilla (recto)

Name Class Date

Paul Nash, Coronilla (recto) (1929), Fitzwilliam College. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Paul Nash originaluniqueart.com/en/artists/paul-nash/
Artist’s dates
1889 – 1946
Painted
1929
Original size
61 x 51 cm
Movement
Cubism Objects broken apart and shown from several viewpoints at once, all flattened onto one surface.
Held at
Fitzwilliam College originaluniqueart.com/en/museums/fitzwilliam-college-cambridge/
Artistic style
Abstract, Surrealism
Influences
Blake, Turner
Notable elements
Geometric shapes, lines
Subject or theme
Landscape, Interior

In context

Coronilla (recto) — Paul Nash

How big is it?

The original measures 61 × 51 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1880
  2. 1890
  3. 1900
  4. 1910
  5. 1920
  6. 1930
  7. 1940

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 57 at death.

Painted when the artist was 40. The artist lived to 57. 38 of the 92 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Paul Nash (1889–1946) ▲ this work, 1929 every dated painting, decade by decade

First works: up to 1924 Main working years: 1924–1938 Late works: from 1938

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/paul-nash-coronilla-recto-AQRJUW-en/

Colours

Measured from the image

    Main colour

    Rosy Brown #bbb095

    Catalogued palette

    • #BBB095
    • #736656
    • #9A9079
    • #493A2F

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Rosy Brown
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Paul Nash over the last twelve months — 9 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 50.0%
    2. 2 Singapore 11.1%
    3. 3 United States of America 11.1%
    4. 4 Italy 8.3%
    5. 5 United Kingdom 5.6%
    6. 6 Hong Kong 5.6%
    7. 7 Germany 2.8%
    8. 8 Japan 2.8%
    9. 9 Venezuela 2.8%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Paul Nash

    1. 1 Landscape of the Moon's Last Phase, 1944 7.7%
    2. 2 Nest of the Siren, 1930 5.1%
    3. 3 Telecommunications, 1934 5.1%
    4. 4 Landscape (verso), 1939 5.1%
    5. 5 Landscape of the Megaliths, 1934 5.1%
    6. 6 Harbour and Room, 1932 5.1%
    7. 7 Landscape from a Dream, 1936 5.1%
    8. 8 Landscape of the Bagley Woods, 1943 5.1%
    9. 9 Whiteleaf Cross, 1931 2.6%
    10. 10 Michaelmas Landscape, 1943 2.6%
    11. 11 A Howitzer Firing, 1918 2.6%
    12. 12 Dead Spring, 1929 2.6%
    13. 13 The Pond at Souldern, 1926 2.6%
    14. 14 Oxford During the War, 1942 2.6%
    15. 15 Event on the Downs, 1934 2.6%
    16. 16 Landscape at Iden, 1929 2.6%
    17. 17 We Are Making a New World, 1918 2.6%
    18. 18 Composition (Design for Today), 1934 2.6%
    19. 19 March Landscape, 1944 2.6%
    20. — Coronilla (recto), 1929 this painting 0.0%

    Together these works take 72.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 99 works by this artist, of which 30 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Coronilla (recto) — Paul Nash

    A Realm of Silent Geometry: Paul Nash’s “Coronilla (recto)”

    Paul Nash's "Coronilla (recto)," painted in 1929, isn’t merely a depiction of a landscape; it’s an immersion into a meticulously constructed dreamscape. This work, housed within the quiet confines of an art gallery or museum setting – suggested by the subtle details of the wall and floor tiles – embodies the core tenets of British Modernism while simultaneously hinting at the burgeoning currents of Surrealism. The painting immediately draws the eye with its deliberate austerity: a muted palette dominated by ochre yellows, cool grays, and earthy browns creates an atmosphere of contemplative stillness, inviting prolonged observation. Yet, within this apparent simplicity lies a complex interplay of geometric forms and subtly suggestive imagery that speaks to the artist’s profound engagement with both the natural world and the burgeoning anxieties of the modern age.

    The Language of Line and Form

    Nash's technique is characterized by an almost architectural precision. Vertical and horizontal lines, rendered with confident brushstrokes, intersect and overlap, establishing a clear sense of spatial depth – not through traditional perspective, but rather through a carefully orchestrated arrangement of shapes. These lines aren’t merely delineating forms; they actively construct the scene, creating a feeling of contained dynamism. The dominant geometric motifs—elongated rectangles, sharp angles, and subtly curving arcs—suggest both the solidity of the earth and the ethereal quality of memory or dream. The artist's use of planar shapes, reminiscent of Cubist principles, further emphasizes this duality, blurring the boundaries between reality and abstraction. It’s a deliberate choice that reflects Nash’s desire to move beyond representational accuracy and explore the underlying structure of perception itself.

    Roots in Myth and Landscape

    To fully appreciate “Coronilla (recto),” it's crucial to understand Nash’s artistic lineage. Early influences, particularly the Romantic landscapes of J.M.W. Turner and the mystical visions of William Blake, are palpable throughout his oeuvre. The painting echoes these traditions through its evocative use of light and shadow, and its exploration of archetypal imagery. The title itself – “Coronilla” – is intriguing, referencing a crown or a series of peaks, perhaps alluding to ancient hillforts like those found in the Thames Valley, which held significant symbolic weight for Nash. These historical references aren’t simply decorative; they ground the painting within a broader narrative of British identity and its relationship to the land. The arrangement of forms subtly evokes these ancient structures, suggesting a dialogue between the past and the present.

    A Portrait of Inner Space

    Beyond its formal qualities, “Coronilla (recto)” possesses a powerful emotional resonance. The muted colors and restrained composition create an atmosphere of quiet introspection—a sense that we are being invited to contemplate not just a landscape, but also the inner workings of the mind. The painting’s stillness is deceptive; it feels as though something is about to emerge from the depths of its geometric architecture. It's a work that rewards repeated viewing, revealing new layers of meaning with each encounter. The overall effect is one of serene melancholy, a poignant reminder of the beauty and fragility of the natural world, and perhaps, a subtle meditation on the passage of time.

    Reproductions and Beyond

    WahooArt offers meticulously crafted hand-painted reproductions of “Coronilla (recto),” allowing art lovers to experience Nash’s vision in exquisite detail. These reproductions capture not only the painting's formal qualities but also its evocative atmosphere, ensuring that this iconic work of British Modernism remains accessible for generations to come. Consider incorporating a reproduction into your home or office – it will serve as a constant source of inspiration and contemplation, a testament to the enduring power of Paul Nash’s artistic genius.

    Artist and museum

    Artist

    Paul Nash

    Born in Kensington, United Kingdom

    Early Life and Influences

    Born: Kensington, United Kingdom (1889)

    Died: 1946

    Paul Nash was born on May 11, 1889, in London. His father, William Harry Nash, was a barrister, and his mother, Caroline Maude, displayed signs of mental illness from an early age. The family moved to Iver Heath, Buckinghamshire, when Paul was young, a move intended to benefit his mother's health.

    Education: He attended the Parsons School of Art and later the Slade School of Fine Art. While proficient in landscape painting, he struggled with figure drawing.

    Early Influences: Nash was heavily influenced by William Blake and J.M.W. Turner, evident in his early works. He also drew inspiration from landscapes featuring ancient historical elements like burial mounds and Iron Age hill forts.

    Artistic Style and Development

    Style: Paul Nash's style blended modernism with traditional techniques. He utilized bold colors, geometric shapes, and abstract forms, distinguishing him from contemporaries.

    Surrealist Leanings: While not strictly a Surrealist, Nash was influenced by the movement, particularly after seeing a Giorgio de Chirico exhibition in 1928. His work incorporated symbolic landscapes with everyday objects.

    War Art: During World War I and II, Nash served as an official war artist. His depictions of battlefields were notable for their haunting beauty and exploration of the impact of conflict on the landscape. Notable works include "The Menin Road."

    "Aerial Creatures": A series produced during WWII featuring anthropomorphic depictions of aircraft crashed in landscapes, demonstrating his evolving style and symbolism.

    Major Achievements and Recognition

    Pioneer of British Modernism: Nash played a crucial role in shaping British modern art, bridging traditional landscape painting with modernist aesthetics.

    War Art Legacy: His wartime paintings are considered iconic representations of the conflict's impact on both soldiers and the environment.

    Unit One Group: He co-founded Unit One in 1933 alongside Ben Nicholson and Barbara Hepworth, a significant group within the British art scene.

    Writer and Designer: Beyond painting, Nash was also a respected writer on art and designed applied arts such as stage scenery, fabrics, and posters.

    Influences and Legacy

    Influence on Subsequent Artists: Nash's unique style and use of color influenced generations of artists who followed.

    Connection to Romanticism: His work is often linked to the English Romantic tradition, particularly through his connection to William Blake and J.M.W. Turner.

    Exploration of Man vs. Nature: A recurring theme in Nash's later works was the relationship between humanity and nature, explored through symbolic imagery.

    Continued Relevance: His paintings continue to be celebrated for their beauty, symbolism, and historical significance, remaining relevant to contemporary audiences.

    Exhibitions and Collections

    Ruskin Gallery: Nash's work has been exhibited at the Ruskin Gallery in the United Kingdom.

    Tate Britain: His pieces can be found within the Tate Britain’s collection.

    Imperial War Museum: Several of his war art pieces are housed in the Imperial War Museum.

    York Art Gallery: His work is also part of the York Art Gallery's collection.

    Government Art Collection: A selection of Nash’s artworks are displayed within the Government Art Collection.

    Museum

    Fitzwilliam College

    On show in Cambridge, United Kingdom

    A Sanctuary of Art and Antiquity: Exploring the Fitzwilliam College

    Nestled within the venerable heart of Cambridge, England, the Fitzwilliam College stands as more than simply a museum; it’s an immersive journey through the very soul of human creativity. Founded in 1816 by Richard FitzWilliam, 7th Viscount FitzWilliam with a profound desire to share his extraordinary collection, the institution has blossomed into one of the United Kingdom's most treasured cultural landmarks – a vibrant space where history whispers from ancient artifacts and masterpieces ignite the imagination. The building itself is a testament to architectural grace, George Basevi’s Founder’s Building, completed in 1843, embodies classical elegance, its inviting façade hinting at the world of artistic wonders contained within. Subsequent expansions, notably the meticulous refurbishment of the Egyptian Galleries in 2006, have seamlessly blended historical grandeur with modern functionality, creating a visitor experience that is both awe-inspiring and remarkably accessible. The Fitzwilliam isn’t just a display of objects; it's a carefully curated narrative, a sprawling tapestry woven from the threads of diverse cultures and artistic movements spanning millennia.

    The collection itself is breathtakingly vast and remarkably varied. It begins with the ancient world – imposing sarcophagi from Egypt, hinting at elaborate rituals and beliefs, stand alongside Roman sculptures and Greek pottery, offering glimpses into empires long past. Moving through time, visitors encounter Renaissance masterpieces, including stunning works by Rubens and Van Dyck, capturing the elegance of courtly life. The gallery dedicated to Old Masters is a particular highlight, showcasing the dramatic chiaroscuro techniques of Rembrandt and the vibrant color palettes of masters like Titian. But the Fitzwilliam’s treasures extend far beyond painting; intricate decorative arts from across continents – exquisitely carved ivory, shimmering silks, and delicate porcelain – tell stories of trade, cultural exchange, and artistic skill. A significant portion of the collection is devoted to antiquities, including the magnificent winged bas-relief salvaged from Nimrud, transporting visitors directly to the world of ancient Assyria and its complex mythology. The museum’s holdings also boast a remarkable selection of prints and drawings, offering intimate portraits of historical figures and scenes, alongside intricate botanical studies and architectural sketches. And let's not forget the porcelain collection – a dazzling display of craftsmanship and cultural exchange, showcasing objects from China, Japan, and Europe.

    A University Connection: A Hub of Learning and Engagement

    What truly distinguishes the Fitzwilliam Museum is its profound and vital connection to the University of Cambridge. This academic partnership isn’t merely a formality; it's woven into the very fabric of the institution, infusing it with a spirit of research, scholarship, and dynamic engagement. The museum isn’t simply a place for passive viewing; it’s designed as an active learning environment, fostering a deeper understanding of art history’s complexities – moving beyond dates and names into a living narrative of human endeavor. Regularly, the museum hosts collaborative projects with university departments, bringing cutting-edge research directly to the public, demonstrating how artistic innovation is inextricably linked to intellectual progress. This interplay between scholarly investigation and accessible interpretation makes the Fitzwilliam a truly vital cultural resource—a place where art history comes alive, resonating with both historical context and contemporary relevance. The museum’s educational programs are particularly noteworthy, offering workshops for children and adults alike, fostering a lifelong appreciation for art and culture.

    Architectural Grandeur and Modern Innovation

    The Fitzwilliam's architecture is not merely a backdrop; it’s an integral part of the experience. The Founder’s Building, completed in 1843, with its imposing classical façade, provides a striking contrast to the more modern additions, creating a harmonious blend of historical grandeur and contemporary functionality. The meticulous refurbishment of the Egyptian Galleries in 2006 is a prime example – state-of-the-art lighting and climate control systems were seamlessly integrated into the original design, ensuring that these ancient treasures are displayed with optimal care and visibility. The museum’s layout encourages exploration, guiding visitors through a carefully curated sequence of artworks and artifacts, while also providing ample space for contemplation and reflection. The building's design reflects a commitment to both preserving the past and embracing the future of art appreciation – a testament to thoughtful planning and architectural vision.

    Notable Exhibitions and Ongoing Discoveries

    The Fitzwilliam Museum’s exhibition program is consistently innovative, offering a diverse range of temporary displays that complement its permanent collection. Recent exhibitions have explored fascinating themes, from the influence of ancient Egyptian art on European painting to the evolution of portraiture throughout history. The museum regularly hosts lectures, workshops, and events catering to all ages and interests – a testament to its commitment to public engagement. Currently, the museum is deeply involved in ongoing research projects examining the provenance of certain artifacts, utilizing modern technology like 3D scanning and digital imaging to uncover hidden details and shed new light on artistic techniques and historical contexts. Keep an eye on their website for announcements about upcoming exhibitions and events – from special collections displays to thought-provoking lectures. Furthermore, the museum’s digital presence is expanding rapidly, offering virtual tours, online collections, and interactive educational resources, ensuring that its treasures are accessible to art lovers worldwide.

    A Legacy of Access: Inspiring Curiosity for All

    Perhaps most profoundly, the Fitzwilliam Museum’s dedication to free admission underscores its core mission: to inspire curiosity, promote learning, and celebrate the transformative power of art. This commitment to inclusivity ensures that these extraordinary treasures are accessible to everyone – from seasoned collectors seeking inspiration to interior designers searching for aesthetic references, or simply individuals with a desire to experience beauty firsthand. The museum’s digital engagement extends this reach beyond physical walls, offering regularly updated online collections and virtual tours, allowing art enthusiasts worldwide to explore its remarkable holdings. Educational resources tailored for schools and families further solidify the Fitzwilliam's role as a cornerstone of cultural learning, ensuring that the legacy of artistic expression continues to inspire generations to come. The museum stands as a beacon of knowledge and beauty, inviting all to delve into the captivating world of art and history.

    Where to read more

    Find this online

    QR code linking to the download page for Coronilla (recto)

    originaluniqueart.com/en/art/download/paul-nash-coronilla-recto-AQRJUW-en/

    Cite this artwork

    MLA
    Nash, Paul. Coronilla (recto). 1929, Fitzwilliam College. https://originaluniqueart.com/en/art/paul-nash-coronilla-recto-AQRJUW-en/
    APA
    Nash, Paul (1929). Coronilla (recto) [Painting]. Fitzwilliam College. https://originaluniqueart.com/en/art/paul-nash-coronilla-recto-AQRJUW-en/
    Chicago
    Paul Nash. Coronilla (recto). 1929. Fitzwilliam College. https://originaluniqueart.com/en/art/paul-nash-coronilla-recto-AQRJUW-en/
    Harvard
    Nash, Paul (1929) Coronilla (recto). Fitzwilliam College. Available at: https://originaluniqueart.com/en/art/paul-nash-coronilla-recto-AQRJUW-en/

    Look closely

    Coronilla (recto) — Paul Nash

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: geometric shapes, floral motifs, landscape. Do you agree? What would you add, or take away?
    4. Look back at Eclipse of the Sunflower (1945), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Cubism: Objects broken apart and shown from several viewpoints at once, all flattened onto one surface. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Coronilla (recto) — Paul Nash

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What artistic movement is most closely associated with Paul Nash’s ‘Coronilla (recto)’?

      • A Impressionism
      • B Cubism
      • C Romanticism
    2. 2. The painting 'Coronilla (recto)' depicts a scene primarily featuring:

      • A A bustling cityscape
      • B Abstract geometric shapes and floral elements
      • C A realistic landscape with figures
    3. 3. In what year was Paul Nash’s ‘Coronilla (recto)’ created?

      • A 1920
      • B 1929
      • C 1935
    4. 4. The painting’s muted color palette suggests a mood that is primarily:

      • A Energetic and vibrant
      • B Serene and contemplative
      • C Dramatic and chaotic
    5. 5. What does the title ‘Coronilla’ likely refer to, based on the painting's imagery?

      • A A crown of flowers
      • B A series of peaks or hills
      • C A type of bird

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2A · 3B · 4B · 5B

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Is "Coronilla (recto)" more bright or more dark overall?

    The recorded values for "Coronilla (recto)" by Paul Nash are: brilliant brightness, gentle luminance luminance.

    What placement suits the format of "Coronilla (recto)" by Paul Nash?

    With its portrait shape, a reproduction of "Coronilla (recto)" is suggested for a living room.

    What are the format and size of "Coronilla (recto)"?

    The format of "Coronilla (recto)" is portrait, and the original measures 61 x 51 cm. Both are useful when planning a reproduction.