Hamet for Tate Gallery. Mrs Gerald Grimsdale wrote to Anthony Bertram (25 May1951 again quoted to the compiler by Mrs Bertram loc. It depicts a moonlit landscape populated by a graveyard of crashed aircraft of the German Luftwaffe. The influence here of Blake is probably important (See Outline, pp.79–80). Bertram also draws attention to the group of trees on a domed hill as a further expression of typical Nash imagery (in its suggestion of Wittenham Clumps) and to the ‘dramatic encounter between the work of man and the sea’ which looks forward to many Dymchurch and Swanage pictures. The composition and shape of the wrecked planes in Totes Meer  is based on earlier paintings of Dymchurch Seawall, an image which stayed with Nash for all his life and appeared in many paintings of other scenes. This strangeness may anticipate the mood of his later Surreal works. He played a key role in the development of Modernism in English art. Here a single pyramid is reflected in calm water, but it is also a night scene, with a sickle moon atop a head in the sky. In paintings such as Dymchurch Wall c1923 and The Shore c1923, Nash translated the sea and landscape into a series of interlocking planes and geometric shapes, influenced by Cézanne’s progressive fragmentation of nature. In 1925 they moved to Iden near Rye, the artist was no longer inspired by Dymchurch, writing in his autobiography notes; “We find a home of our own in Iden, goodbye to Dymchurch”. Dead Sea by Paul Nash Paul Nash is an English abstract painter, sculptor, graphic artist. Totes Meer (German for "Dead Sea") is a 1941 oil-on-canvas painting by Paul Nash. This is one of Nash’s first imaginative drawings, produced when he was twenty-three. The compiler would like particularly to acknowledge the generous assistance of Dr Andrew Causey in preparing the entries on T01771, T01782 and T01821. It was presented to the Tate Gallery in 1946 and is considered to be one of the most important British paintings of the Second World War.  Paul Nash at the Imperial War Museum The pyramid form here is also related to geometry and to the forces of darkness and light. The work was based on sketches and photographs made at the Metal and Produce Recovery Unit at Cowley near Oxford in August 1940, where the remains of both German and British crashed aircraft were brought to be recycled at the Morris Motors car factory nearby, which being used to construct and repair aircraft.

One of the reasons for Nash’s somewhat harassed state is revealed a sentence or two later: ‘What haunts me is the thought of the “show” and if I should not get enough drawings done in time!’ Sir William Richmond had begun to talk of an exhibition in May although nothing seems to have been fixed until October.

During the final ten days of his life Nash returned to Dorset. Nash was among the most important landscape artists of the first half of the twentieth century. Paul Nash 1889–1946. Nash tended to gravitate towards actual pyramidal forms: Silbury Hill, the tall fruit picker’s ladder, the pile of logs or oil drums, a derrick, a set square, a topiary pyramid etc. Again and again, he took a pencil and a brush in his hands to remind people of the terrible tragedy. It has been suggested that for Nash, as for Blake, the pyramid was a symbol of the ascent from the earthbound to the spiritual realm, or from chaos to form. Artwork page for ‘The Pyramids in the Sea’, Paul Nash, 1912 on display at Tate Britain. Nash nearly drowned as a child and wrote that he associated the sea with ‘cold and cruel waters, usually in a threatening mood, pounding and rattling along the shore’. Nash was impressed by the vast sea wall, the Dymchurch Wall, at Dymchurch, a man-made structure designed to protect the Marsh from flooding from the sea.For him, the wall became emblematic of the continuous interaction between land and sea. The mood recalls the spiritual landscapes of William Blake. The couple first visited the area in 1919 shortly after the end of the war and Nash found it to be ‘a delightful place with much inspiring material for work’.

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