The cessation of hostilities to the Great War with the signing of the Armistice on 11
November 1918 brought the largest and most devastating war hitherto known to an end. It was meant to be the “War to End War”, yet a little over twenty years later in 1939 it was eclipsed by the devastation of the Second World War. The shadow of war loomed over the intervening years, which were marked by pronounced speculation on where human society was going; for every prophet of
doom anticipating collapse into degradation, animosity, and self-annihilation there was a contrasting viewpoint awaiting the move towards a better new world. Further, these assessments often overlapped. This thesis examines the impact of apocalyptic ideas within British art in the interwar years. It looks at painting, drawings, prints, and sculpture, addressing the use and development of
apocalyptic concepts during the period 1918-1939, and explicitly relates contemporary anxieties and apocalyptic evocations with Christian apocalyptic narratives. Interwar British society at large identified with Christian traditions, either as products of a Christian education and state, or through
belief. The Apocalypse is central to Christian hope. The project surveys this under appreciated aspect of the period in order to recognise the influence of Judeo-Christian apocalyptic traditions. The apocalyptic orientation, both in its religious and secular forms, has been recognised as a manifestation arising from anxiety in the contemporary context. This thesis reveals a British permutation of a general (European) trend
