The 1910s "The Treasures of Satan" trail

leading from



a) The Void by Naul Nash (1918)

Looking for the Satan's tentacles in The Void:
Paul Nash's The Void falls into the pattern of looking as if it's based on Treasures of Satan, with the satanic figure represented by the clouds in the distance, his tale becomes the trench to the far righ
t.

Looking for the Satan's limbs in The Void:
There might be the desire to compare the top of the hill in the background in the centre with the back of the wrist of the satanic figure's hand held out before him, his leg on the right to the slop going down to the right from there, but not much can be said about his leg stretching to the left other than to compare it to the shadow of the back of the ground behind the cannons.

Comparing the naked bodies to areas in The Void:
Because the actual painting is wider than Treasures of Satan, one might even compare the structure of the road running up along the left to the path like nature of the naked bodies but with their details transformed into the area of ground further to the right becoming the field with war wreckage and water filled pits, their arms transform into such things as the broken walk ways and the cannon wheels.




So, if we started copying and pasting and stretching bits of Treasures of Satan to show the sort of structure that could be easily developed into The Void, we have this...






 
b) The Menin Road by Paul Nash (1918)
The idea comes across to me that Treasures of Satan inspired him when Paul Nash painted this work, and in small ways it would have entered into his work generally, perhaps often unnoticably, but it shows in The Void that turned out to be painted the same year as this.

Perhaps one might want to assume that some of the lower human bodies have been transformed into pools of water.

Corals on the left have been transformed into blocks and section of ribbed circular materials.

Other things might be considered, but establishing a decent flow of thoughts about this might take some time.









c) A Battery Shelled by Wyndham Lewis. (1919) 
A vorticist painting. The Vorticists were a British avant-garde group formed in London in 1914 with the aim of creating art that expressed the dynamism of the modern world, partly inspired by Cubism.


"The First World War, especially the Western Front, was dominated by artillery. Counter-battery work was essential in order to suppress enemy barrages and this painting illustrates the deadly effect of precise German bombardment. The three gunners in the foreground calmly observe the devastation before them; stylised figures struggle through the cratered landscape and distorted columns of smoke rise above the battery position. The serenity of the gunners in the face of immediate chaos reflects a fatalism and detachment perhaps derived from their distanced and impersonal mode of warfare. In style and content this painting was one of the most controversial to come out of the First World War." (http://www.iwm.org.uk/collections/item/object/16688)


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