After the Second World War, a new generation of British sculptors emerged, including Lynn Chadwick, Reg Butler, Eduardo Paolozzi, William Turnbull, Bernard Meadows and Elisabeth Frink. These young artists, mainly still in their thirties, sought to reflect something of the horror of war and the age of the atom bomb. Many used the imagery of animals, insects and birds to depict the torments and trauma of the human condition in war, and it was Herbert Read, in his essay for the Venice Biennale catalogue, that first coined the phrase 'The Geometry of Fear', which would succinctly sum up the feelings and images of a post-war generation. "These new images belong to the iconography of despair, or of defiance … here are images of flight, of ragged claws 'scuttling across the floors of silent seas', of excoriated flesh, frustrated sex, the geometry of fear … Their art is close to the nerves, nervous, wiry.… these British sculptors have given sculpture what it never had before our time - a linear, cursive quality. (Herbert Read: Published in 'New Aspects of British Sculpture' (1952))