1.
David Bomberg
–
David Garshen Bomberg was an English painter, and one of the Whitechapel Boys. Bomberg was one of the most audacious of the generation of artists who studied at the Slade School of Art under Henry Tonks. Gradually developing a more expressionist technique he travelled widely through the Middle East, David Bomberg House, one of the student halls of residences at London South Bank University, is named in his honor. Bomberg was born in the Lee Bank area of Birmingham on December 5,1890 and he was the seventh of eleven children of a Polish Jewish immigrant leatherworker, Abraham, and his wife Rebecca. He was Orthodox but she less so and supported Davids painting ambitions, in 1895, his family moved to Whitechapel in the East End of London where he was to spend the rest of his childhood. After studying art at City and Guilds, Bomberg returned to Birmingham to train as a lithographer, Bomberg and Rosenberg, from similar backgrounds, had met some years earlier and became close friends as a result of their mutual interests. The emphasis in teaching at the Slade was on technique and draughtsmanship, still, Bomberg was staunchly independent and despite Lewis attempts he never officially joined Vorticism. I look upon Nature while I live in a city he explained in the exhibition catalogue I APPEAL to a Sense of Form. My object is the construction of Pure Form, I reject everything in painting that is not Pure Form. With the help of Augustus John, Bomberg sold two paintings from this exhibition to the influential American collector John Quinn, despite the success of his Chenil Gallery exhibition Bomberg continued to be dogged by financial problems. In 1915, he enlisted in the Royal Engineers, transferring in 1916 to the Kings Royal Rifle Corps and in March of that year, shortly after marrying his first wife, World War I was to bring a profound change to Bombergs outlook. The artists book Russian Ballet,1919, was the last work to use the pre-war vorticist idiom. From there followed Bombergs great period of painting and drawing in landscape, in Spain at Toledo, Ronda and Asturias, in Cyprus and intermittently in Britain, perhaps most powerfully in Cornwall. He developed a deeply considered philosophy of art, set out in pieces of writing. Following a collapse in Ronda, Bomberg died in London in 1957, after his early success before the First World War, he was in his lifetime the most brutally excluded artist in Britain. Having lived for years on the earnings of his wife, fellow artist Lilian Holt and remittances from his sister Kitty. Thirty years after his death, a retrospective of Bombergs work curated by Richard Cork was held at the Tate Gallery, London. In 2006, Abbot Hall Art Gallery in Kendal, Cumbria, mounted the first major exhibition of Bombergs paintings for nearly twenty years, David Bomberg, Spirit in the Mass
David Bomberg
–
Photograph of David Bomberg, c.1925.
David Bomberg
–
Vision of Ezekiel, 1912, oil on canvas.
Tate Gallery.
David Bomberg
–
The Mud Bath, 1914,
Tate Gallery.
David Bomberg
–
Sappers at Work: A Canadian Tunnelling Company, Hill 60, St Eloi by David Bomberg, which bears a reference to
1st Canadian Tunnelling Company.
2.
The Mud Bath
–
The Mud Bath is a 1914 oil-on-canvas painting by David Bomberg. The work is considered a masterpiece of Bombergs work in this period, Bomberg was a founder member of the London Group, and the painting is considered a leading example of Vorticism, although Bomberg resisted being described as a Vorticist. There is a suggestion that the bathers are waving their arms as if in a Bacchanalian revel, Bombergs Jewishness was a very important part of his identity as an artist. Bomberg created a series of crayon, gouache and chalk studies before the painting, the completed work measures 152.4 centimetres by 224.2 centimetres. It was a key component in his exhibition the Chenil Gallery in Chelsea in 1914. In addition to taking first place in the catalogue, the work was hung on the wall outside the gallery so that it could have every advantage of lighting and space. A critic remarked that the work was rained upon, baked by the sun and garlanded with flags, the London Chronicle noted that The passers-by make no comment, because they do not recognise it as a picture. Bomberg recalled that the as they turned the corner of Kings Road, the work was purchased by the Tate Gallery in 1964, seven years after Bombergs death. London, Modernism, And 1914, Michael J. K. Walsh, p. 138-139 Ju-Jitsu circa 1913, Tate Gallery
The Mud Bath
–
David Bomberg, The Mud Bath, 1914
3.
Tate
–
Tate is an institution that houses the United Kingdoms national collection of British art, and international modern and contemporary art. It is a network of four art museums, Tate Britain, London, Tate Liverpool, Tate St Ives, Cornwall and Tate Modern, London, Tate is not a government institution, but its main sponsor is the UK Department for Culture, Media and Sport. The name Tate is used also as the name for the corporate body. The gallery was founded in 1897, as the National Gallery of British Art, the Tate Gallery was housed in the current building occupied by Tate Britain, which is situated in Millbank, London. Tate Liverpool has the purpose as Tate Modern but on a smaller scale. All four museums share the Tate Collection, one of the Tates most publicised art events is the awarding of the annual Turner Prize, which takes place at Tate Britain. The original Tate was called the National Gallery of British Art, situated on Millbank, Pimlico, the idea of a National Gallery of British Art was first proposed in the 1820s by Sir John Leicester, Baron de Tabley. It took a step nearer when Robert Vernon gave his collection to the National Gallery in 1847, a decade later John Sheepshanks gave his collection to the South Kensington Museum, known for years as the National Gallery of Art. Henry Tate also donated his own collection to the gallery and it was initially a collection solely of modern British art, concentrating on the works of modern—that is Victorian era—painters. It was controlled by the National Gallery until 1954, in 1926 and 1937, the art dealer and patron Joseph Duveen paid for two major expansions of the gallery building. His father had paid for an extension to house the major part of the Turner Bequest. Henry Courtauld also endowed Tate with a purchase fund, by the mid 20th century, it was fulfilling a dual function of showing the history of British art as well as international modern art. In 1954, the Tate Gallery was finally separated from the National Gallery, later, the Tate began organising its own temporary exhibition programme. In 1979 with funding from a Japanese bank a large extension was opened that would also house larger income generating exhibitions. In 1987, the Clore Wing opened to house the major part of the Turner bequest, in 1988, an outpost in north west England opened as Tate Liverpool. This shows various works of art from the Tate collection as well as mounting its own temporary exhibitions. In 2007, Tate Liverpool hosted the Turner Prize, the first time this has been held outside London and this was an overture to Liverpools being the European Capital of Culture 2008. In 1993, another offshoot opened, Tate St Ives and it exhibits work by modern British artists, particularly those of the St Ives School
Tate
–
The original Tate Gallery, now renamed
Tate Britain
Tate
–
The logo of Tate, used in several similar versions and colours, was designed by
Wolff Olins in 2000.
Tate
–
Tate Liverpool opened in 1988.
Tate
–
Tate St Ives opened in 1993.
4.
Modernism
–
Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by reactions of horror to World War I. Modernism also rejected the certainty of Enlightenment thinking, and many modernists rejected religious belief, the poet Ezra Pounds 1934 injunction to Make it new. Was the touchstone of the approach towards what it saw as the now obsolete culture of the past. In this spirit, its innovations, like the novel, atonal and twelve-tone music, divisionist painting and abstract art. Modernism explicitly rejected the ideology of realism and makes use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision, others focus on modernism as an aesthetic introspection. While J. M. W. Art critic Clement Greenberg describes the Pre-Raphaelite Brotherhood as proto-Modernists, There the proto-Modernists were, of all people, the Pre-Raphaelites actually foreshadowed Manet, with whom Modernist painting most definitely begins. They acted on a dissatisfaction with painting as practiced in their time, rationalism has also had opponents in the philosophers Søren Kierkegaard and later Friedrich Nietzsche, both of whom had significant influence on existentialism. A major 19th-century engineering achievement was The Crystal Palace, the huge cast-iron, Glass and iron were used in a similar monumental style in the construction of major railway terminals in London, such as Paddington Station and Kings Cross Station. These technological advances led to the building of structures like the Brooklyn Bridge. The latter broke all previous limitations on how tall man-made objects could be and these engineering marvels radically altered the 19th-century urban environment and the daily lives of people. Arguments arose that the values of the artist and those of society were not merely different, but that Society was antithetical to Progress, the philosopher Schopenhauer called into question the previous optimism, and his ideas had an important influence on later thinkers, including Nietzsche. Darwins theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness, in particular, the notion that human beings were driven by the same impulses as lower animals proved to be difficult to reconcile with the idea of an ennobling spirituality. Karl Marx argued that there were fundamental contradictions within the capitalist system, historians, and writers in different disciplines, have suggested various dates as starting points for modernism. Everdell also thinks modernism in painting began in 1885–86 with Seurats Divisionism, the poet Baudelaires Les Fleurs du mal, and Flauberts novel Madame Bovary were both published in 1857. In the arts and letters, two important approaches developed separately in France, the first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors. Impressionist paintings demonstrated that human beings do not see objects, the school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by artists, the work of Manet attracted tremendous attention
Modernism
Modernism
–
Eugène Delacroix 's
Liberty Leading the People, 1830, a
Romantic work of art
Modernism
–
A
Realist portrait of
Otto von Bismarck
Modernism
–
Odilon Redon, Guardian Spirit of the Waters, 1878, charcoal on paper,
The Art Institute of Chicago
5.
Art movement
–
Art movements were especially important in modern art, when each consecutive movement was considered as a new avant-garde. According to theories associated with modernism and the concept of postmodernism, the period of time called modern art is posited to have changed approximately halfway through the 20th century and art made afterward is generally called contemporary art. Postmodernism in visual art begins and functions as a parallel to late modernism, the postmodern period began during late modernism, and according to some theorists postmodernism ended in the 21st century. During the period of time corresponding to modern art each movement was often considered a new avant-garde. Also during the period of time referred to as modern art movement was seen corresponding to a somewhat grandiose rethinking of all that came before it. Generally there was a commonality of visual style linking the works, postmodernist theorists posit that the idea of art movements are no longer as applicable, or no longer as discernible, as the notion of art movements had been before the postmodern era. There are many theorists however who doubt as to whether or not such an era was actually a fact, the term refers to tendencies in visual art, novel ideas and architecture, and sometimes literature. In music it is common to speak about genres and styles instead. See also cultural movement, a term with a broader connotation, as the names of many art movements use the -ism suffix, they are sometimes referred to as isms. 20th-century Western painting Art periods List of art movements Post-expressionism Western art history the-artists. org Art movements since 1900, 20th-Century Art Compiled by Dr. Witcombe, Sweet Briar College, Virginia. WebMuseum, Paris Themes index and detailed glossary of art periods
Art movement
–
History of art
Art movement
–
Jacques-Louis David,
The Coronation of Napoleon, (1806),
Musée du Louvre,
History painting
Art movement
–
Eugène Delacroix,
Liberty Leading the People 1830,
Romanticism
Art movement
–
Thomas Cole, The Course of Empire: The Savage State 1836,
Hudson River School
6.
United Kingdom
–
The United Kingdom of Great Britain and Northern Ireland, commonly known as the United Kingdom or Britain, is a sovereign country in western Europe. Lying off the north-western coast of the European mainland, the United Kingdom includes the island of Great Britain, Northern Ireland is the only part of the United Kingdom that shares a land border with another sovereign state—the Republic of Ireland. The Irish Sea lies between Great Britain and Ireland, with an area of 242,500 square kilometres, the United Kingdom is the 78th-largest sovereign state in the world and the 11th-largest in Europe. It is also the 21st-most populous country, with an estimated 65.1 million inhabitants, together, this makes it the fourth-most densely populated country in the European Union. The United Kingdom is a monarchy with a parliamentary system of governance. The monarch is Queen Elizabeth II, who has reigned since 6 February 1952, other major urban areas in the United Kingdom include the regions of Birmingham, Leeds, Glasgow, Liverpool and Manchester. The United Kingdom consists of four countries—England, Scotland, Wales, the last three have devolved administrations, each with varying powers, based in their capitals, Edinburgh, Cardiff and Belfast, respectively. The relationships among the countries of the UK have changed over time, Wales was annexed by the Kingdom of England under the Laws in Wales Acts 1535 and 1542. A treaty between England and Scotland resulted in 1707 in a unified Kingdom of Great Britain, which merged in 1801 with the Kingdom of Ireland to form the United Kingdom of Great Britain and Ireland. Five-sixths of Ireland seceded from the UK in 1922, leaving the present formulation of the United Kingdom of Great Britain, there are fourteen British Overseas Territories. These are the remnants of the British Empire which, at its height in the 1920s, British influence can be observed in the language, culture and legal systems of many of its former colonies. The United Kingdom is a country and has the worlds fifth-largest economy by nominal GDP. The UK is considered to have an economy and is categorised as very high in the Human Development Index. It was the worlds first industrialised country and the worlds foremost power during the 19th, the UK remains a great power with considerable economic, cultural, military, scientific and political influence internationally. It is a nuclear weapons state and its military expenditure ranks fourth or fifth in the world. The UK has been a permanent member of the United Nations Security Council since its first session in 1946 and it has been a leading member state of the EU and its predecessor, the European Economic Community, since 1973. However, on 23 June 2016, a referendum on the UKs membership of the EU resulted in a decision to leave. The Acts of Union 1800 united the Kingdom of Great Britain, Scotland, Wales and Northern Ireland have devolved self-government
United Kingdom
–
Stonehenge, in
Wiltshire, was erected around 2500 BC.
United Kingdom
–
Flag
United Kingdom
–
The
Bayeux Tapestry depicts the
Battle of Hastings, 1066, and the events leading to it.
United Kingdom
–
The
Treaty of Union led to a single united kingdom encompassing all Great Britain.
7.
Cubism
–
Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
Cubism
–
Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 x 73.6 cm,
Museum of Modern Art, New York
Cubism
–
Pablo Picasso,
Les Demoiselles d'Avignon, 1907, considered to be a major step towards the founding of the Cubist movement
Cubism
–
Pablo Picasso, 1909-10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 x 73 cm,
Tate Modern, London
Cubism
–
Paul Cézanne, Quarry Bibémus, 1898-1900,
Museum Folkwang,
Essen,
Germany
8.
BLAST (magazine)
–
Blast was the short-lived literary magazine of the Vorticist movement in Britain. Both editions were primarily by Wyndham Lewis. The magazine is emblematic of the art movement in England. Traditionalism and its trappings, electrified the assembled avant-garde. Initially galvanized by Marinettis verve, Wyndham Lewis—like many other members of the London avant-garde—had become increasingly irritated by the Italians arrogance, Wyndham Lewis wrote a few days later, England practically invented this civilisation that Signor Marinetti has come to preach to us about. The final riposte came with the publication of Blast, written, the name Vorticism was coined by the poet Ezra Pound, a close friend of Lewis and the groups main publicist. Writing to James Joyce in April 1914, Pound described the magazine in terms, Lewis is starting a new Futurist, Cubist. I cant tell, it is mostly a painters magazine with me to do the poems, the first edition was printed in folio format, with the oblique title Blast splashed across its bright pink soft cover. Inside, Lewis used a range of bold typographic innovations and tricks to engage the reader, rather than conventional serif fonts, some of the text is set in sans-serif grotesque fonts. Epstein chose not to sign the manifesto, although his work was featured, the manifesto is primarily a long list of things to be Blessed or Blasted. It starts, Beyond Action and Reaction we would establish ourselves and we start from opposite statements of a chosen world. Set up violent structure of adolescent clearness between two extremes and we discharge ourselves on both sides. We fight first on one side, then on the other, but always for the SAME cause, Mercenaries were always the best troops. We are primitive Mercenaries in the Modern World and we set Humour at Humours throat. Stir up Civil War among peaceful apes and we only want Humour if it has fought like Tragedy. We only want Tragedy if it can clench its side-muscles like hands on its belly, included the now famous pages of subjects either Blasted or Blessed depending on how they were seen by the fledgling Vorticists. Blast pages generally had a go at Fry, the Bloomsbury set, the art critic. Amongst those being Blessed are hairdressers and mariners, the latter two professions were celebrated because they both battle against elemental nature
BLAST (magazine)
–
Cover of the first edition of Blast, 1914
BLAST (magazine)
–
The cover of the second, War Number, edition of Blast featuring a
woodcut by
Wyndham Lewis 's in the
vorticist style
BLAST (magazine)
–
The first section of Wyndham Lewis' Manifesto, Blast 1, 1914
9.
Landscape art
–
In other works, landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition, detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects. The two main traditions spring from Western painting and Chinese art, going well over a thousand years in both cases. Landscape views in art may be imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of a picture is to depict an actual, specific place, especially including buildings prominently, within a few decades it was used to describe vistas in poetry, and eventually as a term for real views. However the cognate term landscaef or landskipe for a patch of land had existed in Old English. The earliest pure landscapes with no figures are frescos from Minoan Greece of around 1500 BCE. The frescos from the Tomb of Nebamun, now in the British Museum, are a famous example. These were frequently used, as in the illustrated, to bridge the gap between a foreground scene with figures and a distant panoramic vista, a persistent problem for landscape artists. The Chinese style generally showed only a distant view, or used dead ground or mist to avoid that difficulty, aesthetic theories in both regions gave the highest status to the works seen to require the most imagination from the artist. They were often also poets whose lines and images illustrated each other, a revival in interest in nature initially mainly manifested itself in depictions of small gardens such as the Hortus Conclusus or those in millefleur tapestries. The frescos of figures at work or play in front of a background of trees in the Palace of the Popes. Several frescos of gardens have survived from Roman houses like the Villa of Livia, a particular advance is shown in the less well-known Turin-Milan Hours, now largely destroyed by fire, whose developments were reflected in Early Netherlandish painting for the rest of the century. Landscape backgrounds for various types of painting became prominent and skilful during the 15th century. The Italian development of a system of graphical perspective was now known all over Europe. Indeed, certain styles were so popular that they became formulas that could be copied again and again, after the publication of the Small Landscapes, landscape artists in the Low Countries either continued with the world landscape or followed the new mode presented by the Small Landscapes. The popularity of landscape scenes can be seen in the success of the painter Frans Post. Salvator Rosa gave picturesque excitement to his landscapes by showing wilder Southern Italian country, there are different styles and periods, and subgenres of marine and animal painting, as well as a distinct style of Italianate landscape
Landscape art
–
Joachim Patinir (1480–1524),
Landscape with Charon Crossing the Styx, 1515–1524. Patinir pioneered the "
world landscape " style.
Landscape art
–
Themistokles von Eckenbrecher (German, 1842–1921), View of Laerdalsoren, on the
Sognefjord, 1901
Landscape art
–
Hasegawa Tōhaku, Pine Trees, one of a pair of
folding screens, Japan, 1593. 156.8 × 356 cm (61.73 × 140.16 in)
Landscape art
–
Landscape with scene from the
Odyssey, Rome, c. 60–40 BCE
10.
Abstract art
–
Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective, the arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, Abstract art, non-figurative art, non-objective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning, Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete, even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities, Figurative art and total abstraction are almost mutually exclusive. But figurative and representational art often contains partial abstraction, both geometric abstraction and lyrical abstraction are often totally abstract. It is at level of visual meaning that abstract art communicates. One can enjoy the beauty of Chinese calligraphy or Islamic calligraphy without being able to read it, in Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo, who is credited to have invented the splashed-ink painting style. While none of his paintings remain, this style is seen in some Song Dynasty Paintings. A late Song painter named Yu Jian, adept to Tiantai buddhism and his paintings show heavily misty mountains in which the shapes of the objects are barely visible and extremely simplified. This type of painting was continued by Sesshu Toyo in his later years, another instance of abstraction in Chinese painting is seen in Zhu Deruns Cosmic Circle. The painting is a reflection of the Daoist metaphysics in which chaos, in Tokugawa Japan some zen monk-painters created Enso, a circle who represents the absolute enlightenment. Usually made in one spontaneous brush stroke, it became the paradigm of the minimalist aesthetic that guided part of the zen painting, three art movements which contributed to the development of abstract art were Romanticism, Impressionism and Expressionism. Artistic independence for artists was advanced during the 19th century, patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists. Expressionist painters explored the use of paint surface, drawing distortions and exaggerations
Abstract art
–
Wassily Kandinsky,
Kandinsky's first abstract watercolor, 1910.
Abstract art
–
Robert Delaunay, 1912–13, Le Premier Disque, 134 cm (52.7 in.), Private collection.
Abstract art
–
James McNeill Whistler,
Nocturne in Black and Gold: The Falling Rocket (1874),
Detroit Institute of Arts. A near abstraction, in 1877 Whistler sued the art critic
John Ruskin for libel after the critic condemned this painting. Ruskin accused Whistler of "ask[ing] two hundred
guineas for throwing a pot of paint in the public's face."
Abstract art
–
Henri Matisse,
The Yellow Curtain, 1915. With his
Fauvist color and drawing Matisse comes very close to pure abstraction.
11.
World War I
–
World War I, also known as the First World War, the Great War, or the War to End All Wars, was a global war originating in Europe that lasted from 28 July 1914 to 11 November 1918. More than 70 million military personnel, including 60 million Europeans, were mobilised in one of the largest wars in history and it was one of the deadliest conflicts in history, and paved the way for major political changes, including revolutions in many of the nations involved. The war drew in all the worlds great powers, assembled in two opposing alliances, the Allies versus the Central Powers of Germany and Austria-Hungary. These alliances were reorganised and expanded as more nations entered the war, Italy, Japan, the trigger for the war was the assassination of Archduke Franz Ferdinand of Austria, heir to the throne of Austria-Hungary, by Yugoslav nationalist Gavrilo Princip in Sarajevo on 28 June 1914. This set off a crisis when Austria-Hungary delivered an ultimatum to the Kingdom of Serbia. Within weeks, the powers were at war and the conflict soon spread around the world. On 25 July Russia began mobilisation and on 28 July, the Austro-Hungarians declared war on Serbia, Germany presented an ultimatum to Russia to demobilise, and when this was refused, declared war on Russia on 1 August. Germany then invaded neutral Belgium and Luxembourg before moving towards France, after the German march on Paris was halted, what became known as the Western Front settled into a battle of attrition, with a trench line that changed little until 1917. On the Eastern Front, the Russian army was successful against the Austro-Hungarians, in November 1914, the Ottoman Empire joined the Central Powers, opening fronts in the Caucasus, Mesopotamia and the Sinai. In 1915, Italy joined the Allies and Bulgaria joined the Central Powers, Romania joined the Allies in 1916, after a stunning German offensive along the Western Front in the spring of 1918, the Allies rallied and drove back the Germans in a series of successful offensives. By the end of the war or soon after, the German Empire, Russian Empire, Austro-Hungarian Empire, national borders were redrawn, with several independent nations restored or created, and Germanys colonies were parceled out among the victors. During the Paris Peace Conference of 1919, the Big Four imposed their terms in a series of treaties, the League of Nations was formed with the aim of preventing any repetition of such a conflict. This effort failed, and economic depression, renewed nationalism, weakened successor states, and feelings of humiliation eventually contributed to World War II. From the time of its start until the approach of World War II, at the time, it was also sometimes called the war to end war or the war to end all wars due to its then-unparalleled scale and devastation. In Canada, Macleans magazine in October 1914 wrote, Some wars name themselves, during the interwar period, the war was most often called the World War and the Great War in English-speaking countries. Will become the first world war in the sense of the word. These began in 1815, with the Holy Alliance between Prussia, Russia, and Austria, when Germany was united in 1871, Prussia became part of the new German nation. Soon after, in October 1873, German Chancellor Otto von Bismarck negotiated the League of the Three Emperors between the monarchs of Austria-Hungary, Russia and Germany
World War I
–
Clockwise from the top: The aftermath of shelling during the
Battle of the Somme,
Mark V tanks cross the
Hindenburg Line,
HMS Irresistible sinks after hitting a
mine in the
Dardanelles, a British
Vickers machine gun crew wears
gas masks during the Battle of the Somme,
Albatros D.III fighters of
Jagdstaffel 11
World War I
–
Sarajevo citizens reading a poster with the proclamation of the
Austrian annexation in 1908.
World War I
–
This picture is usually associated with the arrest of
Gavrilo Princip, although some believe it depicts Ferdinand Behr, a bystander.
World War I
–
Serbian Army
Blériot XI "Oluj", 1915.
12.
London
–
London /ˈlʌndən/ is the capital and most populous city of England and the United Kingdom. Standing on the River Thames in the south east of the island of Great Britain and it was founded by the Romans, who named it Londinium. Londons ancient core, the City of London, largely retains its 1. 12-square-mile medieval boundaries. London is a global city in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism. It is crowned as the worlds largest financial centre and has the fifth- or sixth-largest metropolitan area GDP in the world, London is a world cultural capital. It is the worlds most-visited city as measured by international arrivals and has the worlds largest city airport system measured by passenger traffic, London is the worlds leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. Londons universities form the largest concentration of education institutes in Europe. In 2012, London became the first city to have hosted the modern Summer Olympic Games three times, London has a diverse range of people and cultures, and more than 300 languages are spoken in the region. Its estimated mid-2015 municipal population was 8,673,713, the largest of any city in the European Union, Londons urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census. The citys metropolitan area is the most populous in the EU with 13,879,757 inhabitants, the city-region therefore has a similar land area and population to that of the New York metropolitan area. London was the worlds most populous city from around 1831 to 1925, Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Pauls Cathedral, Tower Bridge, Trafalgar Square, and The Shard. The London Underground is the oldest underground railway network in the world, the etymology of London is uncertain. It is an ancient name, found in sources from the 2nd century and it is recorded c.121 as Londinium, which points to Romano-British origin, and hand-written Roman tablets recovered in the city originating from AD 65/70-80 include the word Londinio. The earliest attempted explanation, now disregarded, is attributed to Geoffrey of Monmouth in Historia Regum Britanniae and this had it that the name originated from a supposed King Lud, who had allegedly taken over the city and named it Kaerlud. From 1898, it was accepted that the name was of Celtic origin and meant place belonging to a man called *Londinos. The ultimate difficulty lies in reconciling the Latin form Londinium with the modern Welsh Llundain, which should demand a form *lōndinion, from earlier *loundiniom. The possibility cannot be ruled out that the Welsh name was borrowed back in from English at a later date, and thus cannot be used as a basis from which to reconstruct the original name. Until 1889, the name London officially applied only to the City of London, two recent discoveries indicate probable very early settlements near the Thames in the London area
London
–
Palace of Westminster,
Buckingham Palace and
Central London skyline
London
London
London
–
The name London may derive from the
River Thames
13.
Wyndham Lewis
–
Percy Wyndham Lewis was an English writer, painter and critic. He was a co-founder of the Vorticist movement in art, and edited the magazine of the Vorticists. His novels include his pre-World War I-era novel Tarr, and The Human Age, a fourth volume of The Human Age, The Trial of Man, was begun by Lewis but left in a fragmentary state at the time of his death. He also wrote two volumes, Blasting and Bombardiering and Rude Assignment, A Narrative of my Career Up-to-Date. Lewis was reputedly born on his fathers yacht off the Canadian province of Nova Scotia and his British mother and American father separated about 1893. Mainly residing in London from 1908, Lewis published his first work in Ford Madox Fords The English Review in 1909 and he was a founder-member of the Camden Town Group in 1911. In 1912 he exhibited his Cubo-Futurist illustrations to Timon of Athens and this brought him into close contact with the Bloomsbury Group, particularly Roger Fry and Clive Bell, with whom he soon fell out. In 1912 he was commissioned to produce a mural, a drop curtain, and more designs for The Cave of the Golden Calf. It was in the years 1913–15 that he developed the style of abstraction for which he is best known today. Lewis found the structure of Cubist painting appealing, but said it did not seem alive compared to Futurist art. Vorticism combined the two movements in a strikingly dramatic critique of modernity, though he was later savagely critical of Bergson, he admitted in a letter to Theodore Weiss that he began by embracing his evolutionary system. Nietzsche was an important influence. He walked out with several Omega artists to start a workshop called the Rebel Art Centre. The Centre operated for four months, but it gave birth to the Vorticist group. In BLAST Lewis wrote the manifesto, several essays expounding his Vorticist aesthetic. The magazine also included reproductions of now lost Vorticist works by Lewis, Lewis was posted to the western front, and served as a second lieutenant in the Royal Artillery. It was dangerous work and he made vivid accounts of narrow misses, after the Third Battle of Ypres in 1917, he was appointed as an official war artist for both the Canadian and British governments, beginning work in December 1917. For the Canadians he painted A Canadian Gun-Pit from sketches made on Vimy Ridge, for the British he painted one of his best known works, A Battery Shelled, drawing on his own experience in charge of a 6-inch howitzer at Ypres
Wyndham Lewis
–
Wyndham Lewis photo by
George Charles Beresford, 1913
Wyndham Lewis
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Workshop, c. 1914–15 by Wyndham Lewis, in the Tate Collection
Wyndham Lewis
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The cover of a facsimile reprint of
BLAST 2, 1915 featuring Before Antwerp by Lewis.
Wyndham Lewis
–
Lewis photographed by Alvin Langdon Coburn in London, 25 February 1916.
14.
Omega Workshops
–
The Omega Workshops Ltd. was a design enterprise founded by members of the Bloomsbury Group and established in July 1913. It was located at 33 Fitzroy Square in London, and was founded with the intention of providing graphic expression to the essence of the Bloomsbury ethos, the Directors of the firm were Fry, Duncan Grant and Vanessa Bell. Fry was keen to encourage a Post-Impressionist influence in designs produced for Omega, however, Cubist and Fauvist influences are also apparent, particularly in many of the textile designs. To ensure items were only for the quality of the work. The products were in expensive, and aimed at an exclusive market. A commission was taken to decorate a room for the 1913 Ideal Home Exhibition, Vanessa Bell and Duncan Grant produced designs for Omega, and Wyndham Lewis was initially part of the operation. This letter contained accusations particularly against Fry, criticising the workshops products and this split led to the formation not only of the Rebel Art Centre, but also of the Vorticist movement. A company in France was used to manufacture early printed linens, in the autumn of 1913 Fry, who also created the designs for Omegas tall cane-seat chairs, started designing and making pottery. The management of the Omega Workshop was passed to Winifred Gill from 1914 as the men started to become involved in the First World War, one artist exhibitions included those of Edward McKnight Kauffer, Alvaro Guevara, Mikhail Larionov and Vanessa Bells first solo exhibition in 1916. Edward Wolfe worked at the Omega Workshops, hand-painting candle-shades and trays, Wolfe, who died in 1982, was one of the last of the Bloomsbury painters. In January 1918, Omega were commissioned to design sets and costumes in the Israel Zangwill play Too Much Money, Omega closed in 1919, after a clearance sale, and was officially liquidated on 24 July 1920. A series of financial decisions and internal conflicts all contributed to its decline. At the time of its closure, Fry was the remaining original member working regularly at the workshop. Despite this, Omega became influential in interior design in the 1920s, a revival of interest in Omega designs in the 1980s led to a reassessment of the place of the Bloomsbury Group in visual arts. British art References Sources Christopher Reed, Bloomsbury Rooms, Modernism, Subculture, and Domesticity. The Omega Workshop at the Tate Gallery
Omega Workshops
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33 Fitzroy Square, London. (from 1929 to 2003 the London Foot Hospital)
Omega Workshops
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Furniture created by Roger Fry for the Omega Workshops, on display in 2009.
Omega Workshops
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Nina Hamnett painted by Roger Fry, 1917, in a dress designed by Vanessa Bell and made at the Omega. The shoes may also be from Omega and the cushion on the chair is covered with 'Maud' linen, also by Bell.
15.
Roger Fry
–
Roger Eliot Fry was an English painter and critic, and a member of the Bloomsbury Group. Establishing his reputation as a scholar of the Old Masters, he became an advocate of more recent developments in French painting and he was described by the art historian Kenneth Clark as incomparably the greatest influence on taste since Ruskin. In so far as taste can be changed by one man, born in London, the son of the judge Edward Fry, he grew up in a wealthy Quaker family in Highgate. Fry was educated at Clifton College and Kings College, Cambridge, at Cambridge, Fry met many freethinking men who would shape the foundation of his interest in the arts. Alongside men like John McTaggart and Goldsworthy Lowes Dickinson, Fry was a part of the elite Conversazione Society, after taking a first in the Natural Science tripos, he went to Paris and then Italy to study art. Eventually he specialised in landscape painting, in 1896, he married the artist Helen Coombe and they subsequently had two children, Pamela and Julian. Helen soon became mentally ill, and in 1910 was committed to a mental institution. Fry took over the care of their children with the help of his sister and that same year, Fry met the artists Vanessa Bell and her husband Clive Bell, and it was through them that he was introduced to the Bloomsbury Group. Vanessas sister, the author Virginia Woolf later wrote in her biography of Fry that He had more knowledge, in 1911, Fry began an affair with Vanessa Bell, who was recovering from a miscarriage. Fry offered her the tenderness and care she felt was lacking from her husband and they remained lifelong close friends, even though Frys heart was broken in 1913 when Vanessa fell in love with Duncan Grant and decided to live permanently with him. After short affairs with artists as Nina Hamnett and Josette Coatmellec. She became his emotional anchor for the rest of his life, Fry died very unexpectedly after a fall at his home in London. His death caused great sorrow among the members of the Bloomsbury Group, Vanessa Bell decorated his casket before his ashes were placed in the vault of Kings College Chapel in Cambridge. Virginia Woolf, Vanessas sister, novelist and a friend of his as well, was entrusted with writing his biography published in 1940. As a painter Fry was experimental, but his best pictures were straightforward naturalistic portraits, in his art he explored his own sensations and gradually his own personal visions and attitudes asserted themselves. His work was considered to give pleasure, communicating the delight of unexpected beauty, Fry did not consider himself a great artist, only a serious artist with some sensibility and taste. He considered Cowdray Park his best painting the best thing, in a way that I have done, in the 1900s, Fry started to teach art history at the Slade School of Fine Art, University College London. In 1903 Fry was involved in the foundation of The Burlington Magazine, Fry wrote for The Burlington from 1903 until his death, he published over two hundred pieces of eclectic subjects – from childrens drawings to bushman art
Roger Fry
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1928 self-portrait
Roger Fry
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River with Poplars, c. 1912,
Tate Gallery
Roger Fry
–
English Heritage blue plaque for Fry and his Omega Studios at 33 Fitzroy Square,
Fitzrovia,
London Borough of Camden
16.
Bloomsbury Group
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This loose collective of friends and relatives lived, worked or studied together near Bloomsbury, London, during the first half of the 20th century. According to Ian Ousby, although its members denied being a group in any formal sense and their works and outlook deeply influenced literature, aesthetics, criticism, and economics as well as modern attitudes towards feminism, pacifism, and sexuality. The male members of the Bloomsbury Group, except Duncan Grant, were educated at Cambridge at either Trinity or King’s College, most of them, except Clive Bell and the Stephen brothers, were members of the exclusive Cambridge society, the Apostles. In 1905 Vanessa began the Friday Club and Thoby ran Thursday Evenings, which became the basis for the Bloomsbury Group, thobys premature death in 1906 brought them more firmly together and they became what is now known as the Old Bloomsbury group who met in earnest beginning in 1912. In the 1920s and 1930s the group shifted when the members died. The Bloomsbury Group, mostly from upper middle-class professional families, formed part of an aristocracy which could trace itself back to the Clapham Sect. It was a network of an influential group of artists, art critics, writers. A historical feature of these friends and relations is that their close relationships all pre-dated their fame as writers, artists, except for Forster, who published three novels before the highly successful Howards End in 1910, the group were late developers. There were stable marriages and varied and complicated affairs among the individual members, Lytton Strachey and his cousin and lover Duncan Grant became close friends of the Stephen sisters, Vanessa Bell and Virginia Woolf. Duncan Grant had affairs with siblings Vanessa Bell and Adrian Stephen, as well as David Garnett, Maynard Keynes, Clive Bell married Vanessa in 1907, and Leonard Woolf returned from the Ceylon Civil Service to marry Virginia in 1912. Cambridge Apostle friendships brought into the group Desmond MacCarthy, his wife Molly, the group met not only in their homes in Bloomsbury, central London, but also at countryside retreats. The Ascension Parish Burial Ground in Cambridge is the resting place of two of the Bloomsbury Group, Sir Desmond and Lady Molly McCarthy. It also houses nine other Apostles, including the philosopher G. E, Moore, who was a great influence on the Bloomsberries. S. Eliot, Katherine Mansfield, Hugh Walpole, another is Vita Sackville-West, who became Hogarth Presss best-selling author. Members cited in other lists might include Ottoline Morrell, or Dora Carrington, or James, through the Apostles they also encountered the analytic philosophers G. E. Moore and Bertrand Russell who were revolutionizing British philosophy at the start of the 20th century. For Moore, intrinsic value depended on an intuition of good. For both Moore and Bloomsbury, the greatest ethic goods were the importance of relationships and the private life, as well as aesthetic appreciation. Bloomsbury reacted against current social rituals, the bourgeois habits, the conventions of Victorian life with their emphasis on public achievement, in favour of a more informal and private focus on personal relationships and individual pleasure
Bloomsbury Group
–
Left to right:
Lady Ottoline Morrell, Maria Nys (neither members of Bloomsbury),
Lytton Strachey,
Duncan Grant, and
Vanessa Bell
Bloomsbury Group
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Blue plaque, 51
Gordon Square, London
Bloomsbury Group
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Buildings
17.
Futurism (art)
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Futurism was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the aeroplane, although it was largely an Italian phenomenon, there were parallel movements in Russia, England, Belgium and elsewhere. It glorified modernity and aimed to liberate Italy from the weight of its past, Cubism contributed to the formation of Italian Futurisms artistic style. Important Futurist works included Marinettis Manifesto of Futurism, Boccionis sculpture Unique Forms of Continuity in Space, to some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism. Futurism is a movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti. He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini, Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. We want no part of it, the past, he wrote, publishing manifestos was a feature of Futurism, and the Futurists wrote them on many topics, including painting, architecture, religion, clothing and cooking. The founding manifesto did not contain an artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting. This committed them to a universal dynamism, which was to be represented in painting. The motor bus rushes into the houses which it passes, the Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911 they used the techniques of Divisionism, breaking light and color down into a field of stippled dots and stripes, which had been originally created by Giovanni Segantini and others. Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant-garde art. Severini was the first to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters adopted the methods of the Cubists, Cubism offered them a means of analysing energy in paintings and expressing dynamism. They often painted modern urban scenes, carràs Funeral of the Anarchist Galli is a large canvas representing events that the artist had himself been involved in, in 1904. The action of an attack and riot is rendered energetically with diagonals. His Leaving the Theatre uses a Divisionist technique to render isolated, Boccionis The City Rises represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted, Boccioni developed these ideas at length in his book, Pittura scultura Futuriste, Dinamismo plastico. Ballas Dynamism of a Dog on a Leash exemplifies the Futurists insistence that the world is in constant movement
Futurism (art)
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Gino Severini, 1912, Dynamic Hieroglyphic of the Bal Tabarin, oil on canvas with sequins, 161.6 x 156.2 cm (63.6 x 61.5 in.),
Museum of Modern Art, New York
Futurism (art)
–
Futurists
Luigi Russolo,
Carlo Carrà,
Filippo Tommaso Marinetti,
Umberto Boccioni and
Gino Severini in front of Le Figaro, Paris, February 9, 1912
Futurism (art)
–
Giacomo Balla, Abstract Speed + Sound, 1913–1914
Futurism (art)
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Umberto Boccioni, sketch of
The City Rises (1910)
18.
Expressionism
–
Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, Expressionist artists sought to express the meaning of emotional experience rather than physical reality. Expressionism was developed as an avant-garde style before the First World War and it remained popular during the Weimar Republic, particularly in Berlin. The style extended to a range of the arts, including expressionist architecture, painting, literature, theatre, dance, film. The term is sometimes suggestive of angst, in a general sense, painters such as Matthias Grünewald and El Greco are sometimes termed expressionist, though in practice the term is applied mainly to 20th-century works. The Expressionist emphasis on individual perspective has been characterized as a reaction to positivism, though an alternate view is that the term was coined by the Czech art historian Antonin Matějček in 1910, as the opposite of impressionism, An Expressionist wishes, above all, to express himself. Immediate perception and builds on more complex psychic structures, in 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, a few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter in Munich. The name came from Wassily Kandinskys Der Blaue Reiter painting of 1903, among their members were Kandinsky, Franz Marc, Paul Klee, and Auguste Macke. However, the term Expressionism did not firmly establish itself until 1913, though mainly a German artistic movement initially and most predominant in painting, poetry and the theatre between 1910–30, most precursors of the movement were not German. Expressionism is notoriously difficult to define, in part because it overlapped with other major isms of the modernist period, with Futurism, Vorticism, Cubism, Surrealism, more explicitly, that the expressionists rejected the ideology of realism. The term refers to a style in which the artist seeks to depict not objective reality but rather the subjective emotions. It is arguable that all artists are expressive but there are examples of art production in Europe from the 15th century onward which emphasize extreme emotion. Expressionism has been likened to Baroque by critics such as art historian Michel Ragon, according to Alberto Arbasino, a difference between the two is that Expressionism doesnt shun the violently unpleasant effect, while Baroque does. Expressionism throws some terrific fuck yous, Baroque doesnt, brazil, Anita Malfatti, Cândido Portinari, Di Cavalcanti, Iberê Camargo and Lasar Segall. Estonia, Konrad Mägi, Eduard Wiiralt Finland, Tyko Sallinen, Alvar Cawén, Juho Mäkelä, there were a number of groups of expressionist painters, including Der Blaue Reiter and Die Brücke. Der Blaue Reiter was based in Munich and Die Brücke was based originally in Dresden, Die Brücke was active for a longer period than Der Blaue Reiter, which was only together for a year. The Expressionists had many influences, among them Edvard Munch, Vincent van Gogh and they were also aware of the work being done by the Fauves in Paris, who influenced Expressionisms tendency toward arbitrary colours and jarring compositions
Expressionism
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The Scream by
Edvard Munch (1893), which inspired 20th-century Expressionists
Expressionism
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Portrait of Eduard Kosmack by
Egon Schiele
Expressionism
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"View of Toledo" by
El Greco, 1595/1610 has been indicated to have a particularly striking resemblance to 20th-century expressionism. Historically however it is an example of
Mannerism. [
citation needed]
Expressionism
–
Wassily Kandinsky, On White II, 1923
19.
Cubo-Futurism
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Cubo-Futurism was the main school of painting and sculpture practiced by the Russian Futurists. Kazimir Malevich developed the style, which can be seen in his The Knife Grinder, though he later abandoned it for Suprematism
Cubo-Futurism
–
Kazimir Malevich, The Knife Grinder (Principle of Glittering), 1913, oil on canvas, 79.5 x 79.5 cm,
Yale University Art Gallery
20.
Ezra Pound
–
Ezra Weston Loomis Pound was an expatriate American poet and critic, and a major figure in the early modernist movement. His contribution to poetry began with his development of Imagism, a movement derived from classical Chinese and Japanese poetry, stressing clarity, precision and his best-known works include Ripostes, Hugh Selwyn Mauberley and the unfinished 120-section epic, The Cantos. This included arranging for the publication in 1915 of Eliots The Love Song of J. Alfred Prufrock, angered by the carnage of World War I, Pound lost faith in England and blamed the war on usury and international capitalism. Deemed unfit to stand trial, he was incarcerated in St. Elizabeths psychiatric hospital in Washington, while in custody in Italy, Pound had begun work on sections of The Cantos. These were published as The Pisan Cantos, for which he was awarded the Bollingen Prize in 1949 by the Library of Congress, triggering enormous controversy. Largely due to a campaign by his writers, he was released from St. Elizabeths in 1958. Hemingway wrote, The best of Pounds writing—and it is in the Cantos—will last as long as there is any literature, Pound was born in a small, two-story house in Hailey, Idaho Territory, the only child of Homer Loomis Pound and Isabel Weston. His father had worked in Hailey since 1883 as registrar of the General Land Office, both parents ancestors had emigrated from England in the 17th century. On his mothers side, Pound was descended from William Wadsworth, the Wadsworths married into the Westons of New York. Harding Weston and Mary Parker were the parents of Isabel Weston, harding apparently spent most of his life without work, with his brother, Ezra Weston, and his brothers wife, Frances, looking after Mary and Isabels needs. On his fathers side, the immigrant ancestor was John Pound, a Quaker, Ezras grandfather, Thaddeus Coleman Pound, was a Republican Congressman from northwest Wisconsin who had made and lost a fortune in the lumber business. Thaddeuss son Homer, Pounds father, worked for Thaddeus in the lumber business, Homer and Isabel married the following year, and Homer built a home in Hailey. Isabel was unhappy in Hailey and took Ezra with her to New York in 1887, Homer followed them, and in 1889 he found a job as an assayer at the Philadelphia Mint. The family moved to Jenkintown, Pennsylvania, and in 1893 bought a house in Wyncote. Between 1897 and 1900 Pound attended Cheltenham Military Academy, sometimes as a boarder, the boys wore Civil War-style uniforms and besides Latin were taught English, history, arithmetic, marksmanship, military drilling and the importance of submitting to authority. After the academy he may have attended Cheltenham Township High School for one year and it was at Pennsylvania in 1901 that Pound met Hilda Doolittle, his first serious romance, according to Pound scholar Ira Nadel. In 1911 she followed Pound to London and became involved in developing the Imagism movement, Pound was seeing two other women at the same time—Viola Baxter and Mary Moore—later dedicating a book of poetry, Personae, to the latter. He asked Moore to marry him too, but she turned him down and his parents and Frances Weston took Pound on another three-month European tour in 1902, after which he transferred, in 1903, to Hamilton College in Clinton, New York, possibly because of poor grades
Ezra Pound
–
Ezra Pound photographed in 1913 by
Alvin Langdon Coburn
Ezra Pound
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Thaddeus Pound, Pound's grandfather, in the late 1880s
Ezra Pound
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Ezra Pound with his mother Isabel in 1898, wearing his Cheltenham Military Academy uniform
Ezra Pound
–
H.D. c. 1921. Beinecke Rare Book and Manuscript Library, Yale University
21.
Kate Lechmere
–
Kate Elizabeth Lechmere was a British painter who with Wyndham Lewis was the co-founder of the Rebel Art Centre in 1914. As far as is known, none of Lechmeres paintings have survived and she served as a nurse in England during the First World War and had a three-year relationship with the poet and critic T. E. After the war she became a successful milliner, Lechmere was born in Fownhope, Herefordshire. Her father was Arthur Lechmere, a farmer, and her mother was Alice Lechmere, kate had two brothers, Arthur and Herbert. The family lived at Bowens, Highland Place, Fownhope, at the time of the 1891 British census and were enough to employ a nurse. Kate Lechmere was educated at Clifton College and she studied at the Atelier La Palette, Paris, and later under Walter Sickert at the Westminster School of Art. She was close to Lawrence Atkinson with whom she had studied the piano in Normandy, Lechmere wrote that she first met Wyndham Lewis in 1912, though according to Paul OKeeffe it was late 1910 or early 1911. They went to dinner during which Lewis barely spoke, which was not unusual, afterwards, Lewis revealed that he had received troubling news. His lover Olive Johnson had become pregnant by him, by December 1912, Lewis and Lechmere were romantically involved and he wrote to her I have as many kisses as the envelope will hold. The rest I keep in my mouth for you and he called her Jacques because she was reading Jean Jacques Rousseau when they met and she called him Golliwog because of his long black hair. One of the things that Lewis liked about Lechmere was her smile and her laugh, Lechmere was the model for his Smiling Woman Ascending a Stair and The Laughing Woman, both 1912. About January 1914, Lechmere wrote to Wyndham Lewis from France suggesting that they set up a modern art Studio in London, run on much the same lines as those in Paris. After Lewis and Roger Fry fell out in 1914, Lewis with Lechmere, Lechmere paid the first three months rent for the centre, paid to have the interior walls moved in order to create the right sized spaces for studios, and even bought a new suit for Lewis. She lived in a flat at the top of the building. Lechmere also lent Lewis £100 to produce the first edition of BLAST, Lewis suggested that she take 50 copies to sell but they had to be returned to the publishers when none sold. She was asked by Lewis to complete a drawing for the first edition of BLAST, as compensation she was blessed in its pages. She did not sign the Vorticist manifesto, the Centre attracted plenty of press attention, including a visit from the Evening Standard for which Lechmere posed pretending to finish one of her paintings. When the story appeared it ran with the caption Artists a disappointment in real life, in fact, she did very little painting at this time as she found the Vorticist aesthetic too abstract and lacking a human dimension
Kate Lechmere
–
Kate Lechmere in 1925
Kate Lechmere
–
Lechmere was the model for Smiling Woman Ascending a Stair, Wyndham Lewis, 1912.
Kate Lechmere
–
Kate Lechmere pretending to finish her already framed painting Buntem Vogel (Colourful Bird) for the benefit of a press photographer, Rebel Art Centre, 1914.
Kate Lechmere
–
T.E. Hulme in 1912.
22.
Cuthbert Hamilton
–
Cuthbert Hamilton was a British artist associated with the Vorticist movement and later with Group X. He was one of the pioneers of art in Britain. Cuthbert Hamilton went to the Slade School of Art and was a contemporary of Wyndham Lewis, in 1912 he helped with decorations for the Cave of the Golden Calf with Wyndham Lewis, and the next year he became part of the Omega Workshops. In 1913 Wyndham Lewis argued with Roger Fry about a commission at the Omega Workshops, Hamilton left the workshops with other artists William Roberts, Frederick Etchells, Edward Wadsworth, and Henri Gaudier-Brzeska. They all supported Wyndham Lewis and united him in March 1914. The artists were later on associated with the Vorticist art movement, Hamilton was one of the names signing the Vorticist manifesto and he also contributed material to the first issue of the Vorticist magazine Blast. He opened the Yeoman Pottery in Kensington in 1915/16, during World War I Hamilton was a Special Constable. After the war ended, he exhibited work with a new group Group X, cuthbert Hamilton, a poor little gallery
Cuthbert Hamilton
–
Cuthbert Hamilton (seated),
Kate Lechmere, Edward Wadsworth and Wyndham Lewis at the Rebel Art Centre, March 1914.
Cuthbert Hamilton
–
Vorticists
23.
Edward Wadsworth
–
Edward Alexander Wadsworth ARA was an English artist, most famous for his close association with Vorticism. He painted, often in tempera, coastal views, abstracts, portraits and he was also an engraver on wood and copper. In the First World War he was involved in transferring dazzle camouflage designs onto ships for the Royal Navy, Wadsworth was born on 29 October 1889 in Cleckheaton, West Yorkshire, and was educated at Fettes College in Edinburgh. He studied engineering in Munich between 1906 and 1907, where he studied art in his time at the Knirr School. This provoked a change of course, as he attended Bradford School of Art before earning a scholarship to the Slade School of Art and his contemporaries at the school included Stanley Spencer, CRW Nevinson, Mark Gertler, Dora Carrington and David Bomberg. By June of the year, he was in a group of artists, including Lewis. He was a signatory of the Vorticist Manifesto published in BLAST the next month, thirty three days after the Vorticist Manifesto was published, war was declared on Germany. Vorticism managed to continue into 1915, with a Vorticist Exhibition, June 1915 at the Doré Gallery, Wadsworth contributed to both, but signed up for the navy shortly after. Wadsworth spent the war in the Royal Naval Volunteer Reserve on the island of Mudros until invalided out in 1917, Dazzle camouflage was invented and designed by Norman Wilkinson. Always a fan of modern ships, Wadsworth was to utilise nautical themes in his art for the rest of his career. Heralded by the major painting Dazzle-ships in Drydock at Liverpool,1919, Wadsworth moved away from the avant-garde in the 1920s, Wadsworth was a member of Unit One. Towards the end of his life his work became increasingly strange and surreal, Wadsworth died in 1949, and is buried in Brompton Cemetery. The graphic designer Peter Saville had seen Wadsworths painting Dazzle-ships in Drydock at Liverpool and was struck by the image, after suggesting the idea and title to Andy McCluskey of Orchestral Manoeuvres in the Dark, Saville carried the theme over to the sleeve design of their album Dazzle Ships. The Graphic Work of Edward Wadsworth, Edward Wadsworth, in Roy R. Behrens, Camoupedia, A Compendium of Research on Art, Architecture and Camouflage. LIT, Exhibition catalogue Camden Arts Centre, a Genius of Industrial England, Edward Wadsworth 1889–1949. Works by Wadsworth at the Tate Gallery 35651223 Edward Wadsworth at Find a Grave Profile on Royal Academy of Arts Collections
Edward Wadsworth
–
Wadsworth in 1916
Edward Wadsworth
–
Edward Wadsworth and Wyndham Lewis at the Rebel Art Centre, March 1914, with
Kate Lechmere and
Cuthbert Hamilton (seated).
Edward Wadsworth
–
Abstract Composition, 1915
Tate Gallery.
Edward Wadsworth
–
Dazzle-ships in Drydock at Liverpool, 1919,
National Gallery of Canada,
Ottawa.
24.
Rebel Art Centre
–
Vorticism was a short-lived modernist movement in British art and poetry of the early 20th century, partly inspired by Cubism. Ultimately, it was their witnessing of unfolding human disaster in World War I that drained these artists of their Vorticist zeal, Vorticism was based in London but was international in make-up and ambition. Lewis himself saw Vorticism as an independent alternative to Cubism, Futurism and Expressionism, though the style grew out of Cubism, it is more closely related to Futurism in its embrace of dynamism, the machine age and all things modern. However, Vorticism diverged from Futurism in the way it tried to capture movement in an image, in a Vorticist painting modern life is shown as an array of bold lines and harsh colours drawing the viewers eye into the centre of the canvas. The Vorticists published two issues of the literary magazine BLAST, edited by Lewis, in June 1914 and July 1915 and it contained work by Ezra Pound and T. S. Eliot as well as by the Vorticists themselves. Its typographical adventurousness was cited by El Lissitzky as one of the forerunners of the revolution in graphic design in the 1920s and 1930s. This work was contemporary with and comparable to abstraction by European artists such as Wassily Kandinsky, František Kupka, the Vorticists held only one exhibition, in 1915, at the Doré Gallery in London. The main section of the exhibition included work by Jessica Dismorr, Frederick Etchells, Lewis, Gaudier-Brzeska, William Roberts, Helen Saunders, there was a smaller section area titled Those Invited To Show that included several other artists. Jacob Epstein was notably not represented, although did have his drawings reproduced in BLAST, after this, the movement broke up, largely due to the onset of World War I and public apathy towards the work. Gaudier-Brzeska was killed in service, while leading figures such as Epstein distanced themselves stylistically from Lewis. A brief attempt by Lewis to revive the movement in 1920 under the name Group X proved unsuccessful, Pound, however, through his correspondence with Lewis, was understood to hold a commitment to the goals of the movement as much as forty years after its demise. A1956 exhibition at the Tate Gallery was called Wyndham Lewis and Vorticism and this angered other members of the group. Bomberg and Roberts both protested strongly the assertion of Lewis, which was printed in the catalogue, Vorticism, in fact, was what I, personally, did. Vorticism and Abstract Art in the First Machine Age, a Crisis of Brilliance, Five Young British Artists and the Great War. Vorticism in Fortnightly Review 96, no
Rebel Art Centre
–
David Bomberg,
The Mud Bath, 1914,
Tate
Rebel Art Centre
–
Kate Lechmere, Cuthbert Hamilton (seated), Edward Wadsworth and Wyndham Lewis at the Rebel Art Centre, March 1914.
Rebel Art Centre
–
The cover of the 1915
BLAST
25.
Malcolm Arbuthnot
–
Malcolm Arbuthnot was a pictorialist photographer and artist. His studio, along many of his works, was destroyed in a fire. He was a friend of George Bernard Shaw, also in 1914, he was one of the signatories - the only photographer - to the manifesto of the Vorticism movement published in the first issue of the literary magazine BLAST. He combined his interests in photography and art by using gum and oil pigment processes, after World War I, he gave up photography in favour of painting, working in oils, watercolours and gouaches. He married twice, and had numerous adopted children and his first marriage to Florence Emily Goold ended in divorce following her adultery with the poet John Gould Fletcher, whom she later married. His second wife Florence Annie Davison was the widow of George Davison, a millionaire through investments in Kodak, media related to Malcolm Arbuthnot at Wikimedia Commons Malcolm Arbuthnot prints at National Portrait Gallery Genealogy and picture
Malcolm Arbuthnot
–
Malcolm Arbuthnot: Old photograph, taken from the bridge of a sailing ship, heeling considerably, dated 1908
Malcolm Arbuthnot
–
Malcolm Arbuthnot: Photograph of a landscape with the meander of a river, in a
pictorialist style, dated 1908
Malcolm Arbuthnot
–
Malcolm Arbuthnot: View of a barge in the Thames, London with
St Paul's Cathedral in the background, dated 1908
26.
Lawrence Atkinson
–
Lawrence Atkinson was an English artist, musician and poet. Atkinson was born at Chorlton upon Medlock, near Manchester, on 17 January 1873 and he began by moving to Paris and studying musical composition, but moved back to London and began to paint, apparently painting mainly landscapes in a style influenced by Matisse and the Fauves. His style changed radically when he was introduced to the work of Wyndham Lewis and he also wrote poetry, in a Modernist style. Atkinson died in Paris on 21 September 1931, wheels at The Modernist Journals Project Lawrence Atkinson, a little gallery
Lawrence Atkinson
–
Lawrence Atkinson, The Lake, Pen and watercolor on paper, circa 1915-20
Lawrence Atkinson
–
Sky Pilot by Lawrence Atkinson for the cover of Wheels, 1918.
Lawrence Atkinson
–
Vorticists
27.
Jessica Dismorr
–
Jessica Dismorr was an English painter and illustrator and one of only two women members of the Vorticist movement. Jessica Stewart Dismorr was born at Gravesend in Kent, and moved with her family to Hampstead in the 1890s and her father, John Stewart Dismorr, was a rich businessman, as a consequence of which she was free of financial worries. In 1911, she contributed illustrations to Rhythm magazine. Dismorr exhibited with Fergusson and S. J. Peploe in October 1912 at the Stafford Gallery, London, at the time as Roger Frys second Post-Impressionist show. In 1912 and 1913, she exhibited Fauvist influenced work in the Allied Artists Association, an influence said to have resulted from her studies at La Palette. She met Wyndham Lewis in 1913, robin Ody, a close friend and the executor of her will, summed her up as the Edwardian phenomenon of the new woman. She maintained a studio in the Kings Road, Chelsea, London and she also essayed into sexual freedom. Ody considered that she did not have a relationship with Lewis. Lechmere gives this as the reason for Dismorr stripping naked in the middle of Oxford Street on one occasion and it must also be borne in mind that Lechmeres relationship with Lewis had ended bitterly, and she carried out a legal struggle to recover money owed her by him. Dismorr was a signatory to the Vorticist manifesto published in the first issue of their literary magazine and she shared the groups depiction of the dynamics of the machine, but little of her work from this period survives. Apart from her, the other female member of the group was Helen Saunders. William Robertss painting The Vorticists at the Restaurant de la Tour Eiffel, Spring 1915, from 1961–62, shows the seven males dominating the foreground and she exhibited with the Vorticists again in New York in January 1917 at the Penguin Club. During World War I she was a nurse in France and then with the American Friends Service Committee and she had a nervous breakdown in 1920 following her war experiences. She was at the centre of the London avant-garde world, acquainted with both T. S. Eliot and Ezra Pound, with her poems and illustrations being published, throughout her life she continued painting and exhibiting her work, which became completely abstract during the 1930s. She contributed her work, Related Forms to Axis magazine in 1937, Dismorr committed suicide by hanging in London on 29 August 1939, five days before Britain declared war on Germany. Quentin Stevenson is currently writing her biography, catherine Heathcocks PhD thesis contains a complete catalogue of Dismorrs works. The letters between Dismorr and Lewis are now at Cornell University, retrieved 11 March 2009 Antcliffe, Mark, and Green, Vivien. The Vorticists, Manifesto for a Modern World, vorticism and Abstract Art in the First Machine Age
Jessica Dismorr
–
Abstract composition ca. 1915
Jessica Dismorr
–
Vorticists
28.
Henri Gaudier-Brzeska
–
Henri Gaudier-Brzeska was a French artist and sculptor who developed a rough-hewn, primitive style of direct carving. Henri Gaudier was born in Saint-Jean-de-Braye near Orléans, in 1910, he moved to London to become an artist, even though he had no formal training. During this time his conflicting attitudes towards art are exemplified in what he wrote to Dr and he resolved these reservations by taking up sculpture, having been inspired by his carpenter father. Once in England Gaudier-Brzeska fell in with the Vorticism movement of Ezra Pound and Wyndham Lewis, abandoning his early fascination for Auguste Rodin, he began to study instead extra-European artworks located in the British Museum and the Victoria and Albert Museum. In 1913, he assisted with the illustrations of Haldane Macfalls book The Splendid Wayfaring along with Claud Lovat Fraser, in 1913 Henri Gaudier-Brzeska met Alfred Wolmark, the Jewish artist and modelled a bronze bust of the young artist, and the two remained close friends. Gaudier-Brzeskas drawing style was influenced by the Chinese calligraphy and poetry which he discovered at the Ezuversity, Pounds interaction with Ernest Fenollosas work on the Chinese brought the young sculptor to the galleries of Eastern art, where he studied the ideogram and applied it to his art. Gaudier-Brzeska had the ability to imply, with a few deft strokes and his drawings also show the influence of Cubism. At the start of the First World War, Gaudier-Brzeska enlisted with the French army and he appears to have fought with little regard for his own safety, receiving a decoration for bravery before being killed in the trenches at Neuville-St. -Vaast. Gaudier was an artist and Brzeska a novelist, several books about Gaudiers work have been produced, but only the book Savage Messiah by H. S. Ede focuses on the relationship. Brzeska was more a companion and her relationship with Gaudier resembled a co-dependency, Henri was devoted to Sophie, even taking her last name as his, but Sophie was often dismissive and cold towards Henris romantic overtures. They were often apart and Sophie would buy Henri prostitutes for his enjoyment instead of having relations with him, Brzeska is often left out of accounts of Gaudiers life. Even Savage Messiah itself focuses on the artist and Brzeska is regarded with very little interest, Ken Russells 1972 film of the book, however, changes the focus to Sophie and Henri Gaudiers relationship. Following his death Sophie Brzeska became distraught, eventually dying in an asylum in 1925, jim Ede bought a sizeable portion of Gaudier-Brzeskas work with Sophie Brzeskas estate after she died intestate. Her estate included numerous letters sent between Henri and Sophie, Ede used these as the basis for his book Savage Messiah on the life and work of Gaudier-Brzeska, which in turn became the basis of Ken Russells film of the same name. The conclusion of the film many of his sculptures and fully demonstrates what great art he produced in his short lifetime. Despite the fact that he had four years to develop his art, Gaudier-Brzeska has had a surprisingly strong influence on 20th-century modernist sculpture in England. His work can be seen at the Tate Gallery, Kettles Yard, the Musée National dArt Moderne in Paris, background to the film Savage Messiah Article on Henri Gaudier-Brzeska and Ken Russells film Henri Gaudier-Brzeska in American public collections, on the French Sculpture Census website
Henri Gaudier-Brzeska
–
Self-portrait, 1913
Henri Gaudier-Brzeska
–
Self-portrait, 1909
Henri Gaudier-Brzeska
–
Seated Figure, The Singer, Caritas, Head of Ezra Pound
Henri Gaudier-Brzeska
–
Family
29.
William Roberts (painter)
–
William Roberts RA was a British painter of groups of figures and portraits, and was a war artist in both World War One and World War Two. Son of an Irish carpenter and his wife, Roberts was born in Hackney and he won a London County Council scholarship to the Slade School of Art in 1910. His contemporaries included a number of brilliant young students, among them Dora Carrington, Mark Gertler, Paul Nash, Christopher Nevinson, Stanley Spencer and David Bomberg. Roberts was intrigued by Post-impressionism and Cubism, an interest fuelled by his friendships at the Slade as well as by his travels in France, after leaving Omega he was taken up by Wyndham Lewis, who was forming a British alternative to Futurism. Ezra Pound had suggested the name Vorticism, and Robertss work was featured in editions of the Vorticist literary magazine BLAST. Roberts himself, however, later preferred the description Cubist for his work of this period, in 1916 Roberts enlisted in the Royal Regiment of Artillery as a gunner, serving on the Western Front. Having been told that artists were being chosen to do war paintings for the Canadian War Records Office, he applied and he was subsequently also commissioned by the British Ministry of Information, for whom he painted A Shell Dump, France. His experiences at the front – touched upon in his memoir 4, in 1915 Roberts had met Sarah Kramer, sister of fellow Slade student Jacob Kramer. Sarah appeared constantly in his work thereafter and they married in 1922, and had one son, John David Roberts, who, after studying physics at University College London, became a poet and guitar scholar. In 1922–6 he was commissioned to produce illustrations and decorations for Lawrences Seven Pillars of Wisdom. In 1923 he held his first one-man exhibition, at the Chenil Gallery in Chelsea, London, when the Second World War broke out, in September 1939, Roberts was too old for combat service. He spent the war years in Oxford, where he painted rural scenes. In 1946 he and Sarah returned to London and took a room at 14 St Marks Crescent, targets of earlier visual satires had included Walter Sickert and Roger Fry. To publicise his own work he also published Some Early Abstract and Cubist Work 1913–1920, what kind of art critic is this, who sets out to criticise my pictures, but criticises my gas stove and kitchen table instead. One admirer of his work has told how she saw him getting on to a number 74 bus and Fascinated to gain a sighting of the octogenarian recluse, aided by the chutzpah of youthful inexperience, she respectfully asked him if she were addressing Mr William Roberts. After what felt like a pause, and with his gaze defiantly averted, he replied. In 1961 Roberts received an award from the Calouste Gulbenkian Foundation in recognition of his artistic achievement, in that same year he began painting The Vorticists at the Restaurant de la Tour Eiffel, Spring 1915, a nostalgic recollection of a boisterous Vorticist gathering in 1915. A major retrospective of his work, organised by the Arts Council of Great Britain, opened at the Tate Gallery in 1965, and a smaller version was also shown in Newcastle and Manchester
William Roberts (painter)
–
William Roberts, (1970)
William Roberts (painter)
–
The First German
Gas Attack at
Ypres, 1918,
National Gallery of Canada.
William Roberts (painter)
–
Vorticists
30.
Helen Saunders
–
Helen Saunders was an English painter associated with the Vorticist movement. Helen Saunders was born in Bedford Park, Ealing, London and she studied at the Slade School of Art from 1906 to 1907, and later at the Central School of Arts and Crafts. She exhibited in the Twentieth Century Art exhibition at the Whitechapel Gallery in 1914, in 1915 she became associated with the Vorticists, signing their manifesto in the first edition of the literary magazine BLAST and contributing to their inaugural exhibition. She and Jessica Dismorr were the female members. Peppin discovered a great deal of previously unknown information about Saunders life, despite her long career, however, fewer than 200 of her works are currently known. She endured the neglect with uncomplaining stoicism, for her innate warmth prevented her from succumbing to bitterness and she died of accidental gas poisoning at her home in Holborn, London, on 1 January 1963. Later that year, her sister Ethel donated to the Tate Gallery three of her drawings from her vorticist period, gouache, watercolour and graphite on paper. Ink, watercolour and graphite on paper
Helen Saunders
–
Abstract Multicoloured Design, 1915,
Tate Gallery.
Helen Saunders
–
Vorticists
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