Christopher Richard Wynne Nevinson ARA (13 August 1889 – 7 October 1946) was an English figure and landscape painter, etcher and lithographer, who was one of the most famous war artists of the First World War. He is often referred to by his initials C. R. W. Nevinson, and was also known as Richard.

Nevinson studied at the Slade School of Art under Henry Tonks and alongside Stanley Spencer and Mark Gertler. When he left the Slade, Nevinson befriended F.T. Marinetti, the founder of Italian Futurism, and the radical writer and artist Wyndham Lewis, who founded the short-lived Rebel Art Centre. However, Nevinson fell out with Lewis and the other 'rebel' artists when he attached their names to the Futurist movement. Lewis immediately founded the Vorticists, an avant garde group of artists and writers from which Nevinson was excluded.

At the outbreak of the First World War, Nevinson joined the Friends' Ambulance Unit and was deeply disturbed by his work tending wounded French and British soldiers. For a very brief period he served as a volunteer ambulance driver before ill health forced his return to Britain. Subsequently, Nevinson volunteered for home service with the Royal Army Medical Corps. He used these experiences as the subject matter for a series of powerful paintings which used the machine aesthetic of Futurism and the influence of Cubism to great effect. His fellow artist Walter Sickert wrote at the time that Nevinson's painting La Mitrailleuse, 'will probably remain the most authoritative and concentrated utterance on the war in the history of painting.' In 1917, Nevinson was appointed an official war artist, but he was no longer finding Modernist styles adequate for describing the horrors of modern war, and he increasingly painted in a more realistic manner. Nevinson's later World War One paintings, based on short visits to the Western Front, lacked the same powerful effect as those earlier works which had helped to make him one of the most famous young artists working in England.

Shortly after the end of the war, Nevinson travelled to the United States of America, where he painted a number of powerful images of New York. However, his boasting and exaggerated claims of his war experiences, together with his depressive and temperamental personality, made him many enemies in both the US and Britain. In 1920, the critic Charles Lewis Hind wrote of Nevinson that 'It is something, at the age of thirty one, to be among the most discussed, most successful, most promising, most admired and most hated British artists.' His post-war career, however, was not so distinguished. Nevinson's 1937 memoir Paint and Prejudice, although lively and colourful, is in parts inaccurate, inconsistent, and misleading.

Christopher Richard Wynne Nevinson was born in Hampstead, one of the two children, and the only son, of the war correspondent and journalist Henry Nevinson and the suffrage campaigner and writer Margaret Nevinson. He was always known as Richard to his friends. Educated at Shrewsbury and Uppingham, which he hated, Nevinson went on to study at the St John's Wood School of Art. Inspired by seeing the work of Augustus John, he decided to attend the Slade School of Art, part of University College London. There his contemporaries included Mark Gertler, Stanley Spencer, Paul Nash, Maxwell Gordon Lightfoot, Adrian Allinson and Dora Carrington. Gertler was, for a time, his closest friend and influence, and they formed for a short while a group known as the Neo-Primitives, being deeply influenced by the art of the early Renaissance. Gertler and Nevinson subsequently fell out when they both fell in love with Carrington. Whilst at the Slade, Nevinson was advised by the Professor of Drawing, Henry Tonks, to abandon thoughts of an artistic career. This led to a lifelong bitterness between the two, and frequent accusations by Nevinson, who had something of a persecution complex, that Tonks was behind several imagined conspiracies against him.

After leaving the Slade, Nevinson studied at the Academie Julian in Paris throughout 1912 and 1913 and also attended the Cercle Russe. In Paris, he met Vladimir Lenin and Pablo Picasso, shared a studio with Amedeo Modigliani, became acquainted with Cubism and also met the Italian Futurists Marinetti and Gino Severini. Back in London he became friends with the radical writer and artist Wyndham Lewis. When Wyndham Lewis founded the short-lived Rebel Art Centre, which included Edward Wadsworth and Ezra Pound, Nevinson also joined. In March 1914 he was among the founder members of the London Group. In June 1914 he published, in several British newspapers, with Marinetti, a manifesto for English Futurism called Vital English Art. Vital English Art denounced the "passéiste filth" of the London art scene, declared Futurism as the only way of representing the modern, machine age and proclaimed its role in the vanguard of British art. Lewis was offended that Nevinson had attached the name of the Rebel Arts Centre to the manifesto without asking him or anyone else in the group. Lewis immediately founded the Vorticists, an avant garde group of artists and writers from which Nevinson was excluded, though he devised the title for the Vorticists' magazine, BLAST.

At the outbreak of World War I, Nevinson joined the Friends' Ambulance Unit, which his father had helped to found. From 13 November 1914, Nevinson spent nine weeks in France with the FAU and the British Red Cross Society, mostly working at a disused goods shed by Dunkirk rail station known as the Shambles. The Shambles housed some three thousand badly wounded French troops, who had been evacuated from the Front and then all but abandoned. For weeks they had been left unfed and untended with the dead and dying lying together on dirty straw. Nevinson, alongside his father and other volunteers, worked to dress wounds, help clean and disinfect the shed and started to make it habitable. Nevinson later depicted his experiences in The Shambles in two paintings, The Doctor and La Patrie. As the French authorities began to take control of the situation, Nevinson was reassigned as an ambulance driver. Although Nevinson would often make much of this time as an ambulance driver, particularly in his publicity material, he only held the role for a week as, due to his poor health, he lacked the strength to steer the vehicle. By January 1915 his worsening rheumatism had made him unfit for further service and he returned to Britain.

Nevinson had four pictures included in the Second Exhibition of the London Group held in March 1915. Nevinson's Futurist painting, Returning to the Trenches, and the sculpture The Rock Drill by Jacob Epstein received the most attention and greatest praise in reviews of the show. After his father received assurances that he would not be posted abroad, Nevinson enlisted as a private in the Royal Army Medical Corps and spent the rest of 1915 working at the Third London General Hospital in Wandsworth. Despite its name, the 3rd LGH was a specialist centre for the treatment of both shell shock and severe facial injuries. Nevinson worked there as an orderly and as a labourer helping build roads and fit out new wards. Sometimes he would be sent to Charing Cross to meet, and unload, the hospital trains arriving from France and for a while he worked on a ward for mental patients. Nevinson married Kathleen Knowlman on 1 November 1915 at Hampstead Town Hall and, after a week-long honeymoon, he reported back to the RAMC but was invalided out of the service in January 1916 with acute rheumatic fever.