WRITING in the Weekend Review in 1932, the painter Paul Nash touched on a problem that would haunt his artist countrymen for decades to come. How, Nash asked, was it possible to ‘go modern’ as well as still ‘being British’? The question was self-answering: it wasn’t.
Modernism, with a capital ‘M’, was International with a capital ‘I’. Still, with rare exceptions, Nash’s coevals set about squaring this circle and no one more avidly than Ivon Hitchens.
In 1936, four years after Nash posed his conundrum, Hitchens, living in Hampstead, painted a picture called Triangle to Beyond. Now in the Tate, it would be his most abstract work and his most Modern. Three years later, however, its maker performed a sharp volte-face.
In 1939, Hitchens bought six acres of woodland near…