Pastel on paper
Tate Collection
Works with images
General Collection
Contemporary Art Society
Collection
<a href="https://www.tate.org.uk/art/artists/eric-kennington-1399" aria-label="More by Eric Kennington" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Eric Kennington</a>
Raider with a Cosh
Presented by the Contemporary Art Society 1925
actions: postures and motions
adults
bayonet
cigarette
clothing and personal items
club
hat, cap
history
individuals: male
leisure and pastimes
lying down
man
military
military: World War I
objects
people
portraits
recreational activities
smoking
soldier
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Western Front
work and occupations
<p>Blake’s idea of how Jerusalem, City of Peace, should be built in England is perhaps easier to contemplate for those who remain at home while others fight for it abroad. Set to rousing music, as Jerusalem was by Hubert Parry in 1916, the vision is apparently more attainable.</p><p>The enduring awareness of successive governments of the gulf between fact and vision in war was one of Blake’s major preoccupations. The inscription on this drawing – ‘Passed by Censor A N Lee, Major’ – shows its subject was officially acceptable. But it betrays a government tyranny in wanting to order man’s imagination.</p><p><em>Gallery label, July 2008</em></p>
paper unique pastel
4 October 2001 – 14 December 2001
2001-12-14
4 October 2001 – 14 December 2001
2001-12-14
2001-10-04
College Art Collection (London, UK)
2001-10-04
The Graphic Work of Eric Kennington
Loan-out
6 December 2004 – 15 August 2005
2005-08-15
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
2004-12-06
Blake and Jerusalem
Collection based display
Raider with a Cosh
support: 629 × 470 mm
Presented by the <a href="/search?gid=999999975" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Contemporary Art Society</a> 1925
<div class="pbodytext">
<span class="text16">Blake’s idea of how Jerusalem, City of </span><span class="text14">Peace,</span><span class="text15"> should be built in      England is perhaps</span><span class="text7"> </span><span class="text15">easier      to contemplate for those who remain</span><span class="text7"> at home      while others fight for it abroad. Set to rousing music, as </span><span class="text18">Jerusalem</span><span class="text7"> was by </span><span class="text16">Hubert Parry in 1916, the vision is apparently</span><span class="text7"> more attainable. </span>
</div>
<div class="para9">
<span class="text7">
<br/> </span>
</div>
<div class="pbodytext">
<span class="text7">The enduring awareness of successive governments of the      gulf between fact  and vision in war was one of Blake’s major      preoccupations. The inscription on this <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/d/drawing" title="Glossary definition for 'Drawing'"><span>drawing</span></a></span><span class="text17">
</span><span class="text7">– ‘Passed by Censor A N Lee,      Major’ – shows its subject was officially acceptable. But it      betrays a government tyranny in wanting to order man’s imagination. </span>
</div>

Display caption
2008-07-30T00:00:00
display-caption
DISPLAY_CAPTION
<p><b>N04075</b> RAIDER WITH A COSH 1917
<br/> 
<br/>Inscr. ‘Passed by Censor A N Lee, Major 19/1/18’ b.r.
<br/>Pastel on brown paper, 24 3/4×18 1/2 (63×47).
<br/>Presented by the Contemporary Art Society 1925.
<br/><i>Coll:</i> Purchased by the C.A.S. at the Leicester Galleries 1918.
<br/><i>Exh:</i> Leicester Galleries, June–July 1918 (91); C.A.S., <i>Advanced Art</i>, Derby, April–June 1920 (79); C.A.S., <i>Paintings and Drawings</i>, Grosvenor House, June–July 1923 (72).
<br/><i>Repr:</i> C. Dodgson and C. E. Montague, <i>British Artists at the Front. IV. Eric Kennington</i>, 1918, pl.3 (in colour); <i>Tate Gallery Illustrations</i>, 1928, pl.186.</p>
<p>The artist wrote (9 April 1958): ‘A solitary silent raider drawn after his night's work in the enemy trench, France 1917.’ The following note appeared in the Leicester Galleries catalogue: ‘A cosh is a kind of club, made fast to the wrist with a thong so as to hang when not in use, and leave the hand free. The man has no cap, shoulder title badge or tunic buttons, because if he were killed in the enemy's trench these might tell the enemy things which otherwise the enemy could only learn by success - probably an expensive success, if procurable at all - in a raid of his own. The raider's bayonet is masked and his face and hands are daubed with mud of the same colour as the muddy ground to be traversed in the raid.’</p>
<p>Kennington went out to France in August 1917 and spent seven months <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/d/drawing" title="Glossary definition for 'Drawing'"><span>drawing</span></a> soldiers under the auspices of the Ministry of Information.</p>
<p><b>Published in:</b>
<br/>Mary Chamot, Dennis Farr and Martin Butlin, <i>The Modern British Paintings, Drawings and Sculpture</i>, London 1964, I
<br/></p>

Catalogue entry
2004-10-05T00:00:00
catalogue-entry
CATALOGUE_ENTRY
actions: postures and motions adults bayonet cigarette clothing and personal items club hat, cap history individuals: male leisure and pastimes lying down man military military: World War I objects people portraits recreational activities smoking soldier weapons Western Front work and occupations