Art

1. A Street in Arras

Scottish infantrymen resting against the exterior wall of a shell-damaged building. The composition is divided between the view into the coach house, and the scene in the street. The hole blasted into the wall shows the remains of a carriage lying amongst the rubble from the roof. Outside soldiers dressed in kilts sit leaning against the exterior, one figure standing. They are resting, their rifles leaning against the wall beside them.
A Street in Arras, 1918, by John Singer Sargent.
Image: IWM (Art.IWM ART 1607)

A Street in Arras, 1918, by John Singer Sargent. Scottish infantrymen rest against the exterior wall of a shell-damaged building in Arras.

See object record
Art

2. Oppy Wood

the lower half of the composition has a view inside a trench with duckboard paths leading to a dug-out. Two infantrymen stand to the left of the dug-out entrance, one of them on the firestep looking over the parapet into No Man's Land. There is a wood of shattered trees littered with corrugated iron and planks at ground level to the right of the composition. The sky stretches above in varying shades of blue with a spectacular cloud formation framing a clear space towards the top of the composition.
© IWM Art.IWM ART (2243)
John Nash, 'Oppy Wood, 1917. Evening,' (1918).
Image: IWM (Art.IWM ART 2243)

Oppy Wood, 1917. Evening, 1918, by John Nash. Two infantrymen stand in a trench next to a dug-out entrance, one of them on the firestep looking over the parapet into no man's land.

See object record
Art

3. The Captive

A German prisoner and his British captor, both wearing respective field uniforms and metal helmets, resting in a communication trench. A mug of drink sits on the surface between them and there is a trench signpost above them. text: (on the signpost) AU LABYRINTH
The Captive, 1918, by Colin Gill.
Image: IWM (Art.IWM ART 1209)

The Captive, 1918, by Colin Gill. A German prisoner and his British captor rest in a communication trench.

See object record
Art

4. Reliefs at Dawn

British soldiers walking through a trench at dawn. They wear full kit, and walk with their backs to the viewer. The heaviness of the scene is reflected in the grey landscape and sky beyond.
Reliefs at Dawn, 1917, by CRW Nevinson.
Image: IWM (Art.IWM ART 513)

Reliefs at Dawn, 1917, by CRW Nevinson. British soldiers, wearing full kit, walk through a trench at dawn.

See object record
Art

5. An Incident on the Western Front

A view of a dogfight involving five aircraft. In the upper foreground a biplane of the RAF flies towards a stricken German biplane, which is falling towards the ground leaving a trail of smoke in its wake.
An Incident on the Western Front, 1918, by Louis Weirter.
Image: IWM (Art.IWM ART 2660)

An Incident on the Western Front, 1918, by Louis Weirter. A dogfight involving five aircraft plays out over the countryside of the Western Front.

See object record
Art

6. An Advanced Dressing Station in France

A dressing station sited by a ruined church. The scene is crowded with casualties, many being brought in by stretcher-bearers. The men have bandaged limbs and some have head wounds. In the sky above there are dark grey clouds, possibly of smoke, in the left half of the composition, and patches of blue on the right.
© IWM Art. IWM ART (1922)
Henry Tonks, 'An Advanced Dressing Station in France' (1918).

An Advanced Dressing Station in France, 1918, by Henry Tonks. Casualties are examined and treated at a dressing station next to a ruined church.

See object record
Art

7. A Howitzer Firing

A scene with four British artillerymen firing a Howitzer gun. They stand beneath a canopy of camoflage netting. To the right a blast of light erupts from the muzzle of the gun, and the men on the left shield their faces from the brightness.
A Howitzer Firing, 1918, by Paul Nash.
Image: IWM (Art.IWM ART 1152)

A Howitzer Firing, 1918, by Paul Nash. Four British artillerymen, standing beneath a canopy of camouflage netting, fire a Howitzer gun.

See object record
Art

8. The Mascot of the Coldstream Guards

Two tents within a grove of trees, one a makeshift shelter hanging from rope suspended between two trees. A figure lies on the ground resting insdie the tent, his washing hanging to dry in the sun on the same rope as the canvas. There is a stack of supplies to the left, and a small white goat standing against the tent in the sunshine. Beyond the trees there is a deep blue sky.
The Mascot of the Coldstream Guards, 1917, by William Orpen.
Image: IWM (Art.IWM ART 3003)

The Mascot of the Coldstream Guards, 1917, by William Orpen. A soldier rests in a tent, his washing hanging to dry in the sun. A small white goat stands outside the tent in the sunshine.

See object record
Art

9. The Guns

a side on view of a huge heavy artillery gun mounted on a railway carriage. The French gun team are busy making adjustments to the barrel's elevation, whilst other French soldiers stand before the railway track. In the background another identical gun is visible, placed in a parallel position.
The Guns, by Henri Lucien Cheffer. © IWM (Art.IWM ART 15595)

The Guns, by Henri Lucien Cheffer. A French gun team make adjustments to the elevation of a heavy artillery gun mounted on a railway carriage.

See object record
Art

10. Crashed Aeroplane

a view over fields with a crashed aircraft in the background. In the foreground two labourers gather the crop into bundles. The woman ties the sheaf, while the man works with a long handled scythe. They are both bent over their work, unheeding the scene behind.
Crashed Aeroplane, 1918, by John Singer Sargent.
Image: IWM (Art.IWM ART 1610)

Crashed Aeroplane, 1918, by John Singer Sargent. Two farmworkers gather crops, paying little attention to the crashed aircraft in the field behind them.

See object record
Art

11. An Observer

a British infantryman on observation duty in a trench on the Western Front. The man stands at a heavily sandbagged parapet looking through a loophole out into No Man's Land. He stands with his back to the viewer, his rifle, with bayonet attached, propped up against the parapet beside him. Three dirt steps lead up to his position, which appears to be elevated to form an observation post. The surrounding walls of the trenches are also piled high with sandbags.
An Observer, 1915, by Edward Handley-Read.
Image: IWM (Art.IWM ART 178)

An Observer, 1915, by Edward Handley-Read. A British infantryman on observation duty in a trench looks out into no man's land.

See object record
Art

12. Ypres Salient, Dawn

A view over the Ypres salient. There are several flooded shell-holes and trenches. The landscape has a devastated and surreal quality, with half recognisable debris littering the ground. In contrast, the upper half of the painting is filled with a clear sky and low covering of cloud.
Ypres Salient, Dawn, February 1918, by Louis John Ginnett.
Image: © IWM (Art.IWM ART 5207)

Ypres Salient, Dawn, February 1918, by Louis John Ginnett. A view over the devastated landscape of the Ypres salient as the sun rises.

See object record

Related content

Women's Canteen at Phoenix Works, Bradford 1918, by Flora Lion
© IWM ART (4434)
Women's experiences

6 Stunning First World War Artworks By Women War Artists

The first British official war artists’ scheme was set up by the government in 1916. Although several female artists were approached either by the British War Memorials Committee or the Ministry of Information, none of them completed commissions for the official schemes.

a landscape in the snow. On the left, a red earth trench lined with duckboards stretches away from the viewer. A group of soldiers clamber from the trench, going 'over the top'. Two lie dead in the trench and another has fallen lying face down in the snow. Those who have survived plod forward towards the right without looking back. They walk beneath a grey, stormy sky, with clouds from shell and gunfire in the distance.
© IWM Art.IWM ART (1656)
First World War

The Powerful Western Front Paintings Of The Nash Brothers

Brothers Paul and John Nash were both commissioned as official war artists during the First World War - Paul from 1917 and John from 1918. Prior to becoming official war artists, both of the brothers had seen active service on the Western Front.

a view of the Asiago Plateau in the Italian Alps. The ground is completely covered by snow, with a single wooden cross marking a grave in the left foreground. There are several small rocky ledges in the foreground and many trees in the middle distance, including a dense forest towards the left. On the horizon are the slopes and peaks of the mountains.
© IWM (Art.IWM ART 2455)
Arts and Culture

14 Snowy Scenes by First World War Artists

Discover the powerful snowy scenes captured by a selection of First World War artists. 

Visiting artist, Gareth Reid, finding out about war artists John and Paul Nash and sketching in the IWM mock trench
© IWM
First World War

How did artists sketch in the trenches during the First World War?

The art that emerged from the First World War provided a window into all corners of the conflict. We invited professional artist Gareth Reid, winner of Sky Arts' Portrait Artist of the Year, to visit IWM London to find out more about war artists and to produce several sketches in a reproduction trench, inspired by artists who worked near the front line.

Four visitors take in artwork in the BAFP galleries
© IWM
Permanent Gallery
IWM London

Blavatnik Art, Film and Photography Galleries

Permanent