‘There is no beauty except in strife, and no masterpiece without aggressiveness’, stated the painter, etcher and lithographer CRW Nevinson, in a 1915 interview in The Daily Express, illustrated by an image of the painting Returning to the Trenches, on which this 1916 drypoint print, of the same title, is based.

There was a push-me-pull-you tension about the British art scene between the two world wars, posits art historian Frances Spalding, in her fine new book The Real and the Romantic.