Capturing the mood of the English landscape: the genius of John Nash

‘If I wanted to make a foreigner understand the mood of a typical English landscape,’ the art critic Eric Newton wrote in April 1939, ‘I would first show him a good Constable and then one or two of John Nash’s best watercolours.’ This is about as good an endorsement any painter could ask for, but Nash is more usually bracketed with, and overshadowed by, his older brother. There have been major exhibitions of Paul Nash’s work at the Dulwich Picture Gallery in 2010 and at Tate Britain three years ago, whereas the last truly substantial retrospective of John’s work was at the Royal Academy in 1967. Andrew Lambirth’s handsome and hefty new book attempts to redress the balance, and it makes a very convincing case for considering John Nash in his own right.

Like his friend Cedric Morris, Nash is often designated an ‘artist-plantsman’, which somehow makes him sound minor or amateur.