Uploaded March 2026 | Updated September 2026, 1 week ago
From Barbara Hepworth and Ben Nicholson, with their rigorous modernism, to the post-war radicals convinced that ‘colour is the only direction for painting’, the Cornish fishing town attracted and inspired wave after wave of innovators.
The problem with St Ives, noted the painter Wilhelmina Barns-Graham, was that it was ‘very difficult to draw without having a hint of Ben Nicholson about it’. Barns-Graham was one of a second wave of painters who gravitated to the Cornish fishing town from about 1940 onwards, lured by the utopian modernists who had colonised it in the years before the war.
Taking inspiration from the Cornish landscape, Ben Nicholson, Barbara Hepworth and Naum Gabo experimented with a rigorous mix of Constructivism and Primitivism, developing a new spatial abstract language in the process.
For those who followed — later known as the second or middle generation because they came between those early modernists and Pop art — the challenge was to amplify that abstraction without appearing derivative. The results were remarkable: the painters attacked the subject head on, creating an art that was bold and visceral and expressed the drama of the Cornish coastline in vibrant colour.
Many of the second-generation artists had fought in the Second World War, and they brought some of that trauma to their work. Sven Berlin had been in the D-Day landings; Peter Lanyon had served in the RAF; Terry Frost, Adrian Heath, Karl Weschke and Roger Hilton had been prisoners of war; and the German-born Paul Feiler had been interned as an enemy alien.
Having lived through the horrors and been spared, they harnessed a terrific desire to get on with life. While they were sympathetic to the rhythms and structure of the landscape, they also wanted to convey what Berlin described as ‘the redemptive and spiritual power of art and nature’. And they found unique ways to do this. Patrick Heron wandered the moors, soaking up the landscape ‘through the soles of his feet’, while Lanyon made paintings based on his experiences as a glider pilot. Bryan Wynter and Hilton experimented with mescaline, and Barns-Graham went to study glaciers in Switzerland, where she witnessed an avalanche.
By the mid-1950s, it was clear to the rest of the art world that something significant was happening in St Ives. As Heron observed, ‘There is no other place built into the history of 20th-century art worldwide that is not itself a capital city or a great metropolis but St Ives, and it’s a teeny weeny fishing port, it’s quite extraordinary.’
Modern British & Irish Evening and Day Sales | Christie's London
18 and 19 March 2026
Find out more: christies.com/en/stories/how-british-artists-explored-a-new-language-of-abstraction-in-st-ives
From Barbara Hepworth and Ben Nicholson, with their rigorous modernism, to the post-war radicals convinced that ‘colour is the only direction for painting’, the Cornish fishing town attracted and inspired wave after wave of innovators.
The problem with St Ives, noted the painter Wilhelmina Barns-Graham, was that it was ‘very difficult to draw without having a hint of Ben Nicholson about it’. Barns-Graham was one of a second wave of painters who gravitated to the Cornish fishing town from about 1940 onwards, lured by the utopian modernists who had colonised it in the years before the war.
Taking inspiration from the Cornish landscape, Ben Nicholson, Barbara Hepworth and Naum Gabo experimented with a rigorous mix of Constructivism and Primitivism, developing a new spatial abstract language in the process.
For those who followed — later known as the second or middle generation because they came between those early modernists and Pop art — the challenge was to amplify that abstraction without appearing derivative. The results were remarkable: the painters attacked the subject head on, creating an art that was bold and visceral and expressed the drama of the Cornish coastline in vibrant colour.
Many of the second-generation artists had fought in the Second World War, and they brought some of that trauma to their work. Sven Berlin had been in the D-Day landings; Peter Lanyon had served in the RAF; Terry Frost, Adrian Heath, Karl Weschke and Roger Hilton had been prisoners of war; and the German-born Paul Feiler had been interned as an enemy alien.
Having lived through the horrors and been spared, they harnessed a terrific desire to get on with life. While they were sympathetic to the rhythms and structure of the landscape, they also wanted to convey what Berlin described as ‘the redemptive and spiritual power of art and nature’. And they found unique ways to do this. Patrick Heron wandered the moors, soaking up the landscape ‘through the soles of his feet’, while Lanyon made paintings based on his experiences as a glider pilot. Bryan Wynter and Hilton experimented with mescaline, and Barns-Graham went to study glaciers in Switzerland, where she witnessed an avalanche.
By the mid-1950s, it was clear to the rest of the art world that something significant was happening in St Ives. As Heron observed, ‘There is no other place built into the history of 20th-century art worldwide that is not itself a capital city or a great metropolis but St Ives, and it’s a teeny weeny fishing port, it’s quite extraordinary.’
Modern British & Irish Evening and Day Sales | Christie's London
18 and 19 March 2026
Find out more: christies.com/en/stories/how-british-artists-explored-a-new-language-of-abstraction-in-st-ives
