587:
806:
1888:
485:
2067:
347:
709:
602:
993:— the David Bomberg Legacy. The gallery, formally launched on 14 June 2012, to display the artworks donated to the university by Sarah Rose has been made possible by the Heritage Lottery Fund. The collection is the work of Sarah Rose, who built her collection over thirty years. The London South Bank University Borough Road Gallery will hold two exhibitions a year drawn from the Sarah Rose collection.
867:); a series of flower paintings saturated with turbulent feeling; and his single commission as a war artist, a series of "Bomb Store" paintings (1942) expressing Bomberg's expanded first-hand sense of the destructive powers of modern technology in warfare. These "Bomb Store" paintings convey a premonitory sense of the
33:
910:) in the working-class borough of Southwark. Though his students received no grant and were awarded no diploma, he attracted devoted and highly energetic pupils, with whom he exhibited on an equal basis in London, Oxford, and Cambridge in two important artists' groupings in which he was the leading light, the
536:
Their mutual interest in experimental dance and the
Russian ballet may have helped bring them together. Alice helped Bomberg in the early part of his career both with financial support and in influencing his appearance and character. 1914 saw the highpoint of his early career – a solo exhibition at the
976:
at the Museo
Joaquin Peinado in Ronda in Andalusia (1–30 October 2004) showed work by Bomberg in the city and environment which he had celebrated in paintings and drawings in 1934-35 and 1954–57. Work from one of the best collections in private hands was shown on the fiftieth anniversary of his death
400:
The emphasis in teaching at the Slade was on technique and draughtsmanship, to which
Bomberg was well suited – winning the Tonks Prize for his drawing of fellow student Rosenberg in 1911. His own style was rapidly moving away from these traditional methods, however, particularly under the influence
194:
Whether because his faith in the machine age had been shattered by his experiences as a private soldier in the trenches or because of the pervasive retrogressive attitude towards modernism in
Britain Bomberg moved to a more figurative style in the 1920s and his work became increasingly dominated by
535:
and in June of the following year his work featured only in the "Invited to show" section of the vorticist exhibition at London's Dore
Gallery. In 1914 he met his first wife Alice Mayes a resourceful and practical woman about ten years older than him who had worked with Kosslov's Ballet Company.
448:(1912), in which he proved "he could absorb the most experimental European ideas, fuse these with Jewish influences and come up with a robust alternative of his own." His dynamic, angular representations of the human form, combining the geometrical abstraction of
1077:, a 2003 novel by Jonathan Wilson, the character "Mike Bloomberg" is loosely based on Bomberg's life, as acknowledged by the author: "Richard Cork's 'David Bomberg' ... of inestimable value to me in constructing this fiction". Glyn Hughes's novel,
678:
between 1923 and 1927, with the assistance of the
Zionist Organization. There he brought together the geometric energies of his pre-war work as an "English cubist" with the tradition of figurative observation of the English landscape school of
984:
London South Bank
University, the site of Bomberg's teaching at the former Borough Polytechnic, received a gift of more than 150 paintings and drawings by Bomberg and his students in the Borough Group – principally Dorothy Mead, Cliff Holden,
1381:
1081:(Simon & Schuster, London, 1992) – its leading a character a London Jewish painter, its cover carrying a reproduction of one of Bomberg's Cyprus landscapes – is also loosely based on the author's reflections on Bomberg.
566:"I look upon Nature while I live in a steel 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."
501:
Expelled from the Slade in the Summer of 1913, Bomberg formed a series of loose affiliations with several groups involved with the contemporary
English avant-garde, embarking on a brief and acrimonious association with the
897:
Unable to get a teaching position after World War II in any of the most prestigious London art schools, Bomberg became the most exemplary teacher of the immediate post-war period in
Britain, working part-time in a
1073:, William Boyd's 2006 novel, there is a reference to a portrait by Bomberg of one of the book's major (fictional) characters. The painting is said to occupy a place in the National Portrait Gallery in London. In
937:(June 1960). 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 second wife, fellow artist
183:; typically using a limited number of striking colours, turning humans into simple, angular shapes, and sometimes overlaying the whole painting a strong grid-work colouring scheme. He was expelled from the
578:. Alice and David enjoyed a trip to Paris with the proceeds of the sale of several pictures in 1914 which led to them marrying in 1916 after Bomberg had enlisted in the Royal Engineers in November 1915.
882:
Bomberg's superb draughtsmanship was expressed also in a lifelong series of portraits, from the early period of his
Botticelli-like "Head of a Poet" (1913), a pencil portrait of his friend the poet
1634:
1385:
456:, established his reputation as a forceful member of the avant-garde and the most audacious of his contemporaries; bringing him to the attention of Wyndham Lewis (who visited him in 1912) and
259:
311:
from 1908 to 1910. Sickert's emphasis on the study of form and the representation of the "gross material facts" of urban life were an important early influence on Bomberg, alongside
2135:
631:
was to bring a profound change to Bomberg's outlook. His experiences of its mechanized slaughter and the death of his brother in the trenches – as well as those of his friend
331:
640:
552:
and attracted favourable attention from experimental artists nationally and internationally. The exhibition featured several of Bomberg's early masterpieces, most notably
526:
in 1914. Still, Bomberg was staunchly independent and despite Lewis' attempts he never officially joined Vorticism. In July 1914 he refused involvement with the Vorticist
1621:
1795:
1307:
918:(1953–55). He developed a deeply considered philosophy of art, set out in several pieces of writing, which he summed up in the phrase, "The Spirit in the Mass".
284:
immigrant leatherworker, Abraham, and his wife Rebecca. He was Orthodox but she less so and supported David's painting ambitions. In 1895, his family moved to
1750:
397:
and others.) Bomberg and Rosenberg, from similar backgrounds, had met some years earlier and became close friends as a result of their mutual interests.
2173:
659:, 1919, was the last work to use the pre-war vorticist idiom. Bomberg self-published this work whilst waiting for the Canadian Government's verdict on
647:(1918–1919): his first version of the painting was dismissed as a "futurist abortion" and was replaced by a second far more representational version.
1638:
1516:
1211:
2213:
2183:
2178:
2193:
1941:
1549:
2223:
929:, unearthed and edited Bomberg's pensées, and was later to publish them, along with images of Bomberg's work, as 'The Bomberg Papers' in his
1661:
1533:
2253:
613:
Despite the success of his Chenil Gallery exhibition Bomberg continued to be dogged by financial problems. In 1915, he enlisted in the
246:, one of the student halls of residences at London South Bank University, is named in his honour. He was married to landscape painter
1907:
1344:
666:
In radical opposition to the prevailing currents in avant-garde art, stimulated as these were by the enthusiasm for mechanization in
1586:
1407:
460:. In 1913, the year in which he was expelled from the Slade because of the radicalism of his approach, he travelled to France with
1471:
639:– permanently destroyed his faith in the aesthetics of the machine age. This can be seen most clearly in his commission for the
2168:
1605:
1024:, Bomberg was singled out as being one of the greatest painters of the 20th Century. He was one of the six artists included in
1834:
1817:
1113:
586:
773:
1751:
https://www.tate.org.uk/research/publications/tate-papers/33/artist-versus-teacher-problem-david-bomberg-pedagogical-legacy
745:
663:; the next few years was to see him 'experimenting with ways of making his stark pre-war style more rounded and organic'.
1968:
1866:
1246:
1028:'s 2013 summer exhibition, "Nash, Nevinson, Spencer, Gertler, Carrington, Bomberg: A Crisis of Brilliance, 1908-1922".
925:, Bomberg died in London in 1957, his critical stock rising sharply thereafter. One of Bomberg's admirers, the painter
1923:
1315:
2233:
1803:
1785:
1771:
1749:
Kate Aspinall, ‘Artist Versus Teacher: The Problem of David Bomberg’s Pedagogical Legacy’, Tate Papers, no.33, 2020,
1737:
1719:
1701:
1159:
792:
752:
514:
in December 1913. His enthusiasm for the dynamism and aesthetics of the machine age gave him a natural affinity with
1728:. Curator in charge, Stephanie Rachum; assistant curator, Hedva Raff; English editing, Barbara Gingold. Jerusalem:
848:
1035:
594:
2208:
759:
730:
726:
2248:
2228:
1190:
2198:
1229:
907:
207:
1878:
1165:
741:
2100:
1513:
1208:
871:
that destroyed the underground store two years later, killing around 70 people, and bear comparison with
622:
618:
1439:
562:– causing "the horses drawing the 29 bus... to shy at it as they came round the corner of King's Road."
2116:
872:
326:
Bomberg's artistic studies had involved considerable financial hardship but in 1911, with the help of
2243:
2041:
864:
671:
308:
94:
1897:
1564:
2218:
2084:
887:
847:
seizure of power in Germany, led Bomberg on his return to London to immediate resignation from the
362:
147:
Bomberg was one of the most audacious of the exceptional generation of artists who studied at the
1961:
1025:
719:
2188:
899:
860:
835:(1948) and intermittently in Britain, perhaps most powerfully in Cornwall. A six-month stay at
575:
1912:
1812:. Daniel Katz Ltd, 2007. (Exhibition catalogue with text by Richard Cork and Miles Richmond.)
1685:
Tate Gallery, London, Arts Council of Great Britain (organizer), 1967. (Exhibition catalogue.)
2203:
2016:
1822:
1810:
In Celebration of David Bomberg 1890–1957; Daniel Katz Gallery, London, 30 May – 13 July 2007
1763:
1131:
1046:
819:
From there followed Bomberg's great period of painting and drawing in landscape, in Spain at
655:
382:
156:
1778:
David Bomberg: Spirit in the Mass; Abbot Hall Art Gallery, Kendal, 17 July – 28 October 2006
2163:
2158:
1693:
1039:
997:
766:
667:
1348:
863:
on the horizon, since described as the "most moving of all paintings of wartime Britain" (
365:
Bomberg was one of the remarkable generation of artists described by their drawing master
8:
2238:
1583:
1411:
903:
868:
675:
335:
327:
243:
203:
188:
184:
171:. Bomberg painted a series of complex geometric compositions combining the influences of
148:
100:
805:
574:, Bomberg sold two paintings from this exhibition to the influential American collector
2051:
2011:
1954:
1932:
1101:
374:
289:
2092:
2021:
1991:
1862:
1830:
1813:
1799:
1781:
1767:
1733:
1715:
1697:
1155:
1109:
968:, mounted the first major exhibition of Bomberg's paintings for nearly twenty years:
527:
511:
465:
457:
191:, because of the audacity of his breach from the conventional approach of that time.
1602:
621:
and in March of that year, shortly after marrying his first wife, being sent to the
2056:
1892:
1282:
990:
692:
651:
531:
503:
235:
141:
2001:
1927:
1744:
David Bomberg, 1890–1957: a Tribute to Lilian Bomberg, March 14 – April 12, 1985.
1707:
1609:
1590:
1520:
1215:
1194:
1054:
1001:
949:
Thirty years after his death, a major retrospective of Bomberg's work curated by
915:
883:
680:
632:
614:
541:
507:
406:
386:
370:
296:
168:
164:
160:
469:
320:
2046:
1861:
Sarah MacDougall & Rachel Dickson, Ben Uri Gallery and Museum, London 2017
1286:
986:
684:
537:
453:
402:
346:
304:
239:
231:
211:
176:
129:
1274:
258:
2152:
2031:
2026:
2006:
1844:
1798:, 2004. (Exhibition catalogue with text by Richard Cork and Michael Jacobs.)
1729:
1053:
mounted a major exhibition of Bomberg's work curated in partnership with the
926:
911:
890:, to his "Last Self-Portrait" (1956), painted at Ronda, a meditation also on
859:(1944), showing the blitzed city viewed rising up to a triumphant, surviving
820:
571:
515:
473:
461:
430:
422:
418:
410:
394:
390:
378:
196:
1622:"Nash, Nevinson, Spencer, Gertler, Carrington, Bomberg: A Crisis, 1908-1922"
2108:
1917:
1848:
1755:
1377:
1340:
1270:
1013:
954:
950:
930:
852:
844:
840:
813:
554:
523:
522:
movement, and five of his works featured in the founding exhibition of the
494:
489:
438:
434:
354:
227:
219:
215:
187:
in 1913, with agreement between senior teachers Tonks, Frederick Brown and
1746:
London: Fischer Fine Art Ltd. Uxbridge, Middlesex: Hillingdon Press, 1985.
369:
as the School's second and last "crisis of brilliance" and which included
1942:
Connected, Spring 2009, Journal of alumni of London South Bank University
1031:
981:
at Daniel Katz Gallery, Old Bond Street, London (30 May – 13 July 2007).
938:
636:
628:
549:
366:
300:
285:
247:
180:
152:
140:(5 December 1890 - 19 August 1957) was a British painter, and one of the
32:
2066:
484:
195:
portraits and landscapes drawn from nature. Gradually developing a more
2036:
1792:
David Bomberg en Ronda; Museo Joaquin Peinado, Ronda, 1–30 October 2004
1050:
733: in this section. Unsourced material may be challenged and removed.
559:
274:
60:
1977:
1007:
891:
606:
545:
519:
417:
exhibition in October of the same year, which displayed the works of
312:
223:
121:
1106:
A Crisis of Brilliance: Five Young British Artists and the Great War
941:
and remittances from his sister Kitty, he died in absolute poverty.
708:
389:. (The "first crisis of brilliance" had occurred in the 1890s, with
828:
270:
199:
technique, he travelled widely through the Middle East and Europe.
1662:"Welcome catch-up with a brilliant but awkward outsider - Bomberg"
1714:. London: Whitechapel Art Gallery, 1979. (Exhibition catalogue.)
1187:
965:
426:
601:
591:
Sappers at Work: A Canadian Tunnelling Company, Hill 60, St Eloi
2136:
The Vorticists at the Restaurant de la Tour Eiffel, Spring 1915
1882:
1058:
961:
836:
832:
688:
449:
281:
278:
277:
on 5 December 1890. He was the seventh of eleven children of a
172:
125:
79:
1149:
1020:
between 14 June and 4 September 2011. In the 2011 BBC series,
922:
824:
444:
Bomberg's response to this became clear in paintings such as
1946:
1593:
The Public Catalogue Foundation, Retrieved 29 January 2014.
972:(17 July – 28 October 2006). Prior to that, the exhibition
558:(1914), which was hung on an outside wall surrounded by
1901:
1127:
1125:
1780:. Lakeland Arts Trust, 2006. (Exhibition catalogue.)
1230:"The Outsider Genius: David Bomberg's Self-Portraits"
1635:"Sotheby's: David Bowie's Art Captivates Collectors"
1281:(Online ed.). Oxford: Oxford University Press.
1624:
Dulwich Picture Gallery, Retrieved 29 January 2014.
1122:
1100:
1038:, part of which was sold at auction after Bowie's
292:where he was to spend the rest of his childhood.
2150:
1683:David Bomberg 1890–1957: Paintings and Drawings,
1523:Borough Road Gallery, Retrieved 29 January 2014.
1347:. Abbot Hall Art Gallery, Kendal. Archived from
1827:Isaac Rosenberg: The Making of a Great War Poet
1012:from 30 September 2010 through 2 January 2011.
1010:: Rebel Artists in London and New York, 1914-18
405:that exposed him to the dynamic abstraction of
401:of the March 1912 London exhibition of Italian
299:, Bomberg returned to Birmingham to train as a
886:for which he won the Henry Tonks Prize at the
1962:
1034:purchased work by Bomberg and kept it in his
593:by David Bomberg, which bears a reference to
202:From 1945 to 1953, he worked as a teacher at
1935:The History of the Borough Group of Artists,
1843:(Bomberg's pensées; unearthed and edited by
1335:
1333:
1400:
1096:
1094:
1969:
1955:
1433:
1431:
1429:
31:
2174:Academics of London South Bank University
1829:. London: Weidenfeld and Nicolson, 2008.
1542:
1465:
1463:
1461:
1330:
979:In celebration of David Bomberg 1890-1957
793:Learn how and when to remove this message
1913:Guardian review of Abbot Hall exhibition
1227:
1091:
1064:
1018:Vorticists: Manifesto for a Modern World
804:
600:
585:
581:
483:
345:
257:
2214:English people of Polish-Jewish descent
2184:Alumni of the Westminster School of Art
1437:
1426:
1372:
1370:
1368:
1366:
1279:Oxford Dictionary of National Biography
1204:
1202:
944:
334:, he was able to attain a place at the
210:) in London, where his pupils included
2179:Alumni of the Slade School of Fine Art
2151:
1879:143 artworks by or after David Bomberg
1659:
1579:
1577:
1469:
1458:
1410:. Mark Barrow Fine Art. Archived from
1247:"David Bomberg: an East End childhood"
1240:
1147:
843:in the second half of 1933, following
698:
605:Photograph of David Bomberg, taken in
544:which attracted positive reviews from
479:
2194:British Army personnel of World War I
1950:
1920:Notes on the Borough Group of Artists
1726:David Bomberg in Palestine, 1923–1927
1495:David Bomberg, 'The Bomberg papers',
1265:
1263:
1261:
1259:
1257:
1563:: 11–13. Spring 2009. Archived from
1470:Raynor, Vivien (25 September 1988).
1363:
1339:
1275:"Bomberg, David Garshen (1890–1957)"
1269:
1199:
1168:from the original on 1 November 2016
731:adding citations to reliable sources
702:
674:, Bomberg went to paint and draw in
37:Photograph of David Bomberg, c.1925.
1574:
1345:"David Bomberg: Spirit in the Mass"
960:In 2006, Abbot Hall Art Gallery in
179:in the years immediately preceding
13:
2065:
1676:
1627:
1254:
1108:. Old Street Publishing (London).
14:
2265:
2254:20th-century English male artists
2224:King's Royal Rifle Corps soldiers
1872:
1438:Hubbard, Sue (4 September 2006).
1154:. Thames and Hudson. p. 30.
970:David Bomberg: Spirit in the Mass
319:, where he first saw the work of
317:Manet and the Post-Impressionists
1732:, 1983. (Exhibition catalogue.)
1660:Hudson, Mark (30 October 2017).
1503:, Oxford University Press (1988)
1376:
1016:held an exhibition entitled The
707:
1908:Article on the Whitechapel Boys
1889:Works by or about David Bomberg
1855:(Oxford University Press 1988).
1653:
1615:
1596:
1526:
1506:
1489:
718:needs additional citations for
595:1st Canadian Tunnelling Company
1712:David Bomberg: the Later Years
1710:and Jennifer Brook (editors),
1300:
1221:
1181:
1141:
617:, transferring in 1916 to the
253:
1:
2169:20th-century English painters
1976:
1499:, Vol. I, No. 3 (June 1960);
1084:
857:Evening in the City of London
1898:14 artworks by David Bomberg
1851:, Vol. 1, No. 3, June 1960;
1539:, Retrieved 29 January 2014.
1472:"A Neglected British Genius"
1055:Ben Uri Gallery & Museum
1004:held an exhibition entitled
908:London South Bank University
810:Tregor and Tregoff, Cornwall
464:, where among others he met
341:
332:Jewish Education Aid Society
208:London South Bank University
7:
2101:Hieratic Head of Ezra Pound
1612:Retrieved 17 September 2010
1446:. Find Articles at BNET.com
641:Canadian War Memorials Fund
510:before exhibiting with the
113:Painting, drawing, teaching
10:
2270:
1514:"How I Discovered Bomberg"
1308:"The artist David Bomberg"
1218:Retrieved 29 January 2014.
827:(1934–35 and 1954–57) and
265:(1931), charcoal and wash.
2127:
2076:
2063:
1984:
1408:"David Bomberg biography"
309:Westminster School of Art
117:
109:
95:Westminster School of Art
87:
68:
42:
30:
23:
2234:Royal Engineers soldiers
1690:David Bomberg, 1890–1957
1188:Miles Richmond's website
921:Following a collapse in
670:in Russia following the
619:King's Royal Rifle Corps
363:Slade School of Fine Art
303:but quit to study under
269:Bomberg was born in the
1926:11 October 2008 at the
1589:1 February 2014 at the
1214:2 February 2014 at the
1178:Philip Holmes' website]
1148:Hughes, Robert (1990).
1026:Dulwich Picture Gallery
452:with the energy of the
353:, 1912, oil on canvas.
2070:
1584:"Borough Road Gallery"
1384:. Tate. Archived from
1287:10.1093/ref:odnb/37206
1193:2 October 2016 at the
974:David Bomberg en Ronda
816:
610:
598:
568:
498:
358:
295:After studying art at
266:
2209:English male painters
2069:
2017:Henri Gaudier-Brzeska
1823:Jean Moorcroft Wilson
1796:Museo Joaquin Peinado
1534:"Modernist in Motion"
1532:Haden-Guest, Anthony
1132:Jean Moorcroft Wilson
1065:References in fiction
1047:Pallant House Gallery
808:
604:
589:
582:World War I and after
564:
487:
349:
261:
155:, and which included
138:David Garshen Bomberg
2249:World War II artists
2229:Painters from London
1694:Royal College of Art
1608:8 March 2013 at the
1519:4 March 2016 at the
1414:on 27 September 2007
1351:on 24 September 2007
998:Nasher Museum of Art
945:Posthumous reception
727:improve this article
238:, Cecil Bailey, and
2199:British war artists
1853:An Anthology from X
1666:The Daily Telegraph
1537:The Financial Times
1501:An Anthology from X
1440:"Back in the frame"
1250:www.tandfonline.com
1057:of St John's Wood,
957:, London, in 1988.
904:Borough Polytechnic
861:St Paul's Cathedral
699:The return to order
480:Pre-war avant-garde
429:alongside those of
413:, and Fry's second
336:Slade School of Art
328:John Singer Sargent
315:'s 1910 exhibition
244:David Bomberg House
204:Borough Polytechnic
189:Philip Wilson Steer
185:Slade School of Art
149:Slade School of Art
101:Slade School of Art
2071:
2052:Dorothy Shakespear
2012:Frederick Etchells
1841:The Bomberg Papers
1550:"A Lasting Legacy"
1476:The New York Times
1102:David Boyd Haycock
1075:A Palestine Affair
1036:private collection
977:in the exhibition
914:(1946–51) and the
817:
635:and his supporter
611:
599:
499:
415:Post Impressionist
359:
290:East End of London
267:
2146:
2145:
2022:Cuthbert Hamilton
1992:Lawrence Atkinson
1835:978-0-297-85145-5
1818:978-0-9545058-5-1
1641:on 1 January 2018
1570:on 7 August 2011.
1115:978-1-905847-84-6
869:massive explosion
803:
802:
795:
777:
570:With the help of
528:literary magazine
512:Camden Town Group
466:Amedeo Modigliani
458:Filippo Marinetti
446:Vision of Ezekiel
351:Vision of Ezekiel
218:, Philip Holmes,
135:
134:
2261:
2244:Whitechapel Boys
2057:Edward Wadsworth
1971:
1964:
1957:
1948:
1947:
1918:Laurie Stewart,
1893:Internet Archive
1670:
1669:
1657:
1651:
1650:
1648:
1646:
1637:. Archived from
1631:
1625:
1619:
1613:
1600:
1594:
1581:
1572:
1571:
1569:
1554:
1546:
1540:
1530:
1524:
1510:
1504:
1493:
1487:
1486:
1484:
1482:
1467:
1456:
1455:
1453:
1451:
1435:
1424:
1423:
1421:
1419:
1404:
1398:
1397:
1395:
1393:
1374:
1361:
1360:
1358:
1356:
1337:
1328:
1327:
1325:
1323:
1314:. Archived from
1312:Digital Ladywood
1304:
1298:
1297:
1295:
1293:
1267:
1252:
1244:
1238:
1237:
1225:
1219:
1206:
1197:
1185:
1179:
1177:
1175:
1173:
1145:
1139:
1129:
1120:
1119:
1098:
991:Dennis Creffield
953:was held at the
798:
791:
787:
784:
778:
776:
735:
711:
703:
693:John Sell Cotman
504:Bloomsbury Group
236:Dennis Creffield
142:Whitechapel Boys
75:
56:
54:
35:
21:
20:
2269:
2268:
2264:
2263:
2262:
2260:
2259:
2258:
2219:Jewish painters
2149:
2148:
2147:
2142:
2139:(1962 painting)
2123:
2072:
2061:
2042:William Roberts
2002:Jessica Dismorr
1980:
1975:
1928:Wayback Machine
1875:
1708:Nicholas Serota
1679:
1677:Further reading
1674:
1673:
1658:
1654:
1644:
1642:
1633:
1632:
1628:
1620:
1616:
1610:Wayback Machine
1601:
1597:
1591:Wayback Machine
1582:
1575:
1567:
1552:
1548:
1547:
1543:
1531:
1527:
1521:Wayback Machine
1511:
1507:
1494:
1490:
1480:
1478:
1468:
1459:
1449:
1447:
1444:The Independent
1436:
1427:
1417:
1415:
1406:
1405:
1401:
1391:
1389:
1388:on 22 June 2008
1382:"David Bomberg"
1375:
1364:
1354:
1352:
1338:
1331:
1321:
1319:
1318:on 21 July 2011
1306:
1305:
1301:
1291:
1289:
1268:
1255:
1245:
1241:
1226:
1222:
1216:Wayback Machine
1209:"David Bomberg"
1207:
1200:
1195:Wayback Machine
1186:
1182:
1171:
1169:
1162:
1146:
1142:
1136:Isaac Rosenberg
1130:
1123:
1116:
1099:
1092:
1087:
1067:
1022:British Masters
1002:Duke University
947:
916:Borough Bottega
884:Isaac Rosenberg
865:Martin Harrison
849:Communist Party
799:
788:
782:
779:
742:"David Bomberg"
736:
734:
724:
712:
701:
661:Sappers at Work
645:Sappers at Work
633:Isaac Rosenberg
615:Royal Engineers
584:
508:Omega Workshops
482:
407:Francis Picabia
387:Isaac Rosenberg
371:Stanley Spencer
344:
297:City and Guilds
256:
169:Dora Carrington
165:C.R.W. Nevinson
161:Stanley Spencer
105:
83:
77:
73:
64:
58:
57:5 December 1890
52:
50:
49:
48:
38:
26:
17:
16:British painter
12:
11:
5:
2267:
2257:
2256:
2251:
2246:
2241:
2236:
2231:
2226:
2221:
2216:
2211:
2206:
2201:
2196:
2191:
2186:
2181:
2176:
2171:
2166:
2161:
2144:
2143:
2141:
2140:
2131:
2129:
2125:
2124:
2122:
2121:
2113:
2105:
2097:
2089:
2080:
2078:
2074:
2073:
2064:
2062:
2060:
2059:
2054:
2049:
2047:Helen Saunders
2044:
2039:
2034:
2029:
2024:
2019:
2014:
2009:
2004:
1999:
1994:
1988:
1986:
1982:
1981:
1974:
1973:
1966:
1959:
1951:
1945:
1944:
1939:
1933:Cliff Holden,
1930:
1915:
1910:
1905:
1895:
1886:
1874:
1873:External links
1871:
1870:
1869:
1867:978-0900157615
1856:
1838:
1820:
1807:
1789:
1775:
1753:
1747:
1741:
1723:
1705:
1686:
1678:
1675:
1672:
1671:
1652:
1626:
1614:
1595:
1573:
1541:
1525:
1512:Cork, Richard
1505:
1488:
1457:
1425:
1399:
1362:
1329:
1299:
1253:
1239:
1228:Richard Cork.
1220:
1198:
1180:
1160:
1151:Frank Auerbach
1140:
1121:
1114:
1089:
1088:
1086:
1083:
1066:
1063:
987:Miles Richmond
946:
943:
801:
800:
715:
713:
706:
700:
697:
668:Constructivism
656:Russian Ballet
583:
580:
538:Chenil Gallery
481:
478:
343:
340:
305:Walter Sickert
255:
252:
240:Miles Richmond
232:Gustav Metzger
212:Frank Auerbach
133:
132:
119:
115:
114:
111:
110:Known for
107:
106:
104:
103:
98:
91:
89:
85:
84:
78:
76:(aged 66)
72:19 August 1957
70:
66:
65:
59:
46:
44:
40:
39:
36:
28:
27:
24:
15:
9:
6:
4:
3:
2:
2266:
2255:
2252:
2250:
2247:
2245:
2242:
2240:
2237:
2235:
2232:
2230:
2227:
2225:
2222:
2220:
2217:
2215:
2212:
2210:
2207:
2205:
2202:
2200:
2197:
2195:
2192:
2190:
2189:Borough Group
2187:
2185:
2182:
2180:
2177:
2175:
2172:
2170:
2167:
2165:
2162:
2160:
2157:
2156:
2154:
2138:
2137:
2133:
2132:
2130:
2126:
2119:
2118:
2114:
2111:
2110:
2106:
2103:
2102:
2098:
2095:
2094:
2090:
2087:
2086:
2082:
2081:
2079:
2075:
2068:
2058:
2055:
2053:
2050:
2048:
2045:
2043:
2040:
2038:
2035:
2033:
2032:Wyndham Lewis
2030:
2028:
2027:Kate Lechmere
2025:
2023:
2020:
2018:
2015:
2013:
2010:
2008:
2007:Jacob Epstein
2005:
2003:
2000:
1998:
1997:David Bomberg
1995:
1993:
1990:
1989:
1987:
1983:
1979:
1972:
1967:
1965:
1960:
1958:
1953:
1952:
1949:
1943:
1940:
1938:
1936:
1931:
1929:
1925:
1922:
1921:
1916:
1914:
1911:
1909:
1906:
1903:
1899:
1896:
1894:
1890:
1887:
1884:
1880:
1877:
1876:
1868:
1864:
1860:
1857:
1854:
1850:
1846:
1845:Patrick Swift
1842:
1839:
1836:
1832:
1828:
1824:
1821:
1819:
1815:
1811:
1808:
1805:
1804:0-9545058-1-6
1801:
1797:
1793:
1790:
1787:
1786:1-902498-28-3
1783:
1779:
1776:
1773:
1772:0-300-03827-5
1769:
1765:
1761:
1760:David Bomberg
1757:
1754:
1752:
1748:
1745:
1742:
1739:
1738:965-278-015-4
1735:
1731:
1730:Israel Museum
1727:
1724:
1721:
1720:0-85488-045-3
1717:
1713:
1709:
1706:
1703:
1702:0-902490-23-0
1699:
1695:
1691:
1687:
1684:
1681:
1680:
1667:
1663:
1656:
1640:
1636:
1630:
1623:
1618:
1611:
1607:
1604:
1603:Nasher Museum
1599:
1592:
1588:
1585:
1580:
1578:
1566:
1562:
1558:
1551:
1545:
1538:
1535:
1529:
1522:
1518:
1515:
1509:
1502:
1498:
1492:
1477:
1473:
1466:
1464:
1462:
1445:
1441:
1434:
1432:
1430:
1413:
1409:
1403:
1387:
1383:
1379:
1378:Cork, Richard
1373:
1371:
1369:
1367:
1350:
1346:
1342:
1341:Cork, Richard
1336:
1334:
1317:
1313:
1309:
1303:
1288:
1284:
1280:
1276:
1272:
1271:Cork, Richard
1266:
1264:
1262:
1260:
1258:
1251:
1248:
1243:
1235:
1231:
1224:
1217:
1213:
1210:
1205:
1203:
1196:
1192:
1189:
1184:
1167:
1163:
1161:0-500-09211-7
1157:
1153:
1152:
1144:
1137:
1133:
1128:
1126:
1117:
1111:
1107:
1103:
1097:
1095:
1090:
1082:
1080:
1076:
1072:
1062:
1060:
1056:
1052:
1048:
1043:
1041:
1037:
1033:
1029:
1027:
1023:
1019:
1015:
1011:
1009:
1003:
999:
994:
992:
988:
982:
980:
975:
971:
967:
963:
958:
956:
952:
942:
940:
936:
934:
928:
927:Patrick Swift
924:
919:
917:
913:
912:Borough Group
909:
905:
901:
900:bakery school
895:
893:
889:
885:
880:
878:
874:
870:
866:
862:
858:
855:, he painted
854:
850:
846:
842:
838:
834:
830:
826:
822:
815:
811:
807:
797:
794:
786:
775:
772:
768:
765:
761:
758:
754:
751:
747:
744: –
743:
739:
738:Find sources:
732:
728:
722:
721:
716:This section
714:
710:
705:
704:
696:
694:
690:
686:
682:
677:
673:
669:
664:
662:
658:
657:
653:
652:artist's book
648:
646:
642:
638:
634:
630:
626:
624:
623:Western Front
620:
616:
608:
603:
596:
592:
588:
579:
577:
573:
572:Augustus John
567:
563:
561:
557:
556:
551:
547:
543:
539:
534:
533:
529:
525:
521:
517:
516:Wyndham Lewis
513:
509:
505:
496:
492:
491:
486:
477:
475:
474:Pablo Picasso
471:
467:
463:
462:Jacob Epstein
459:
455:
451:
447:
442:
440:
436:
432:
431:Wyndham Lewis
428:
424:
423:Henri Matisse
420:
419:Pablo Picasso
416:
412:
411:Gino Severini
408:
404:
398:
396:
395:William Orpen
392:
391:Augustus John
388:
384:
380:
379:Ben Nicholson
376:
372:
368:
364:
356:
352:
348:
339:
337:
333:
329:
324:
322:
318:
314:
310:
306:
302:
298:
293:
291:
287:
283:
280:
276:
272:
264:
263:Self-Portrait
260:
251:
249:
245:
241:
237:
233:
229:
225:
221:
217:
213:
209:
205:
200:
198:
197:expressionist
192:
190:
186:
182:
178:
174:
170:
166:
162:
158:
154:
150:
145:
143:
139:
131:
127:
123:
120:
116:
112:
108:
102:
99:
96:
93:
92:
90:
86:
81:
71:
67:
62:
47:David Bomberg
45:
41:
34:
29:
25:David Bomberg
22:
19:
2204:English Jews
2134:
2115:
2109:The Mud Bath
2107:
2099:
2091:
2083:
1996:
1934:
1919:
1881: at the
1858:
1852:
1840:
1826:
1809:
1791:
1777:
1759:
1756:Richard Cork
1743:
1725:
1711:
1689:
1688:Roy Oxlade,
1682:
1665:
1655:
1643:. Retrieved
1639:the original
1629:
1617:
1598:
1565:the original
1560:
1556:
1544:
1536:
1528:
1508:
1500:
1496:
1491:
1479:. Retrieved
1475:
1448:. Retrieved
1443:
1416:. Retrieved
1412:the original
1402:
1390:. Retrieved
1386:the original
1353:. Retrieved
1349:the original
1320:. Retrieved
1316:the original
1311:
1302:
1290:. Retrieved
1278:
1273:(May 2006).
1249:
1242:
1233:
1223:
1183:
1170:. Retrieved
1150:
1143:
1135:
1105:
1078:
1074:
1070:
1068:
1045:In 2017 the
1044:
1030:
1021:
1017:
1014:Tate Britain
1005:
995:
983:
978:
973:
969:
959:
955:Tate Gallery
951:Richard Cork
948:
932:
920:
896:
881:
876:
856:
853:World War II
841:Soviet Union
818:
814:Tate Gallery
809:
789:
780:
770:
763:
756:
749:
737:
725:Please help
720:verification
717:
665:
660:
654:
649:
644:
627:
612:
590:
569:
565:
555:The Mud Bath
553:
530:
524:London Group
518:'s emerging
500:
495:Tate Gallery
490:The Mud Bath
488:
470:André Derain
445:
443:
439:Vanessa Bell
435:Duncan Grant
414:
399:
383:Mark Gertler
360:
355:Tate Gallery
350:
325:
321:Paul Cézanne
316:
301:lithographer
294:
268:
262:
228:Dorothy Mead
220:Cliff Holden
216:Leon Kossoff
201:
193:
157:Mark Gertler
146:
137:
136:
74:(1957-08-19)
18:
2164:1957 deaths
2159:1890 births
2128:Works about
2096:(1914–1915)
2088:(1914–1915)
1172:12 December
1032:David Bowie
939:Lilian Holt
831:(1935), in
783:August 2017
637:T. E. Hulme
629:World War I
560:Union Flags
550:T. E. Hulme
367:Henry Tonks
286:Whitechapel
254:Early years
248:Lilian Holt
181:World War I
153:Henry Tonks
2239:Vorticists
2153:Categories
2117:Rock Drill
2037:Ezra Pound
1985:Vorticists
1692:. London:
1645:5 December
1481:20 January
1450:19 January
1418:19 January
1392:18 January
1355:19 January
1322:19 January
1292:18 January
1234:HENI Talks
1085:References
1051:Chichester
1008:Vorticists
935:’ magazine
879:etchings.
753:newspapers
672:Revolution
576:John Quinn
275:Birmingham
61:Birmingham
53:1890-12-05
2093:The Crowd
1978:Vorticism
1557:Connected
1042:in 2016.
892:Rembrandt
851:. During
685:Constable
676:Palestine
607:Jerusalem
546:Roger Fry
520:vorticist
454:Futurists
403:Futurists
375:Paul Nash
342:The Slade
313:Roger Fry
224:Edna Mann
122:Vorticism
88:Education
82:, England
63:, England
1924:Archived
1766:, 1987.
1696:, 1977.
1606:Archived
1587:Archived
1517:Archived
1343:(2006).
1212:Archived
1191:Archived
1166:Archived
1104:(2009).
1071:Restless
873:Piranesi
845:Hitler's
829:Asturias
823:(1928),
812:, 1947,
427:Fauvists
425:and the
330:and the
273:area of
271:Lee Bank
177:futurism
130:Futurism
118:Movement
1902:Ben Uri
1900:at the
1891:at the
1859:Bomberg
966:Cumbria
902:at the
877:Carceri
839:in the
767:scholar
609:, 1924.
542:Chelsea
493:(1914;
361:At the
288:in the
2120:(1913)
2112:(1914)
2104:(1914)
2077:Output
1883:Art UK
1865:
1833:
1816:
1802:
1784:
1770:
1736:
1718:
1700:
1158:
1138:(2008)
1112:
1059:London
989:, and
962:Kendal
837:Odessa
833:Cyprus
821:Toledo
769:
762:
755:
748:
740:
689:Girtin
681:Turner
450:cubism
282:Jewish
279:Polish
173:cubism
167:, and
151:under
126:Cubism
80:London
2085:Blast
1568:(PDF)
1553:(PDF)
1040:death
923:Ronda
906:(now
888:Slade
825:Ronda
774:JSTOR
760:books
532:BLAST
206:(now
1937:2004
1904:site
1885:site
1863:ISBN
1831:ISBN
1814:ISBN
1800:ISBN
1782:ISBN
1768:ISBN
1764:Yale
1734:ISBN
1716:ISBN
1698:ISBN
1647:2016
1483:2008
1452:2008
1420:2008
1394:2008
1357:2008
1324:2008
1294:2008
1174:2014
1156:ISBN
1110:ISBN
1079:Roth
1006:The
996:The
746:news
691:and
650:The
548:and
472:and
437:and
409:and
385:and
175:and
69:Died
43:Born
1847:),
1283:doi
1069:In
1049:in
1000:at
875:'s
729:by
540:in
506:'s
307:at
2155::
1825:,
1794:.
1762:.
1758:,
1664:.
1576:^
1559:.
1555:.
1474:.
1460:^
1442:.
1428:^
1380:.
1365:^
1332:^
1310:.
1277:.
1256:^
1232:.
1201:^
1164:.
1134:—
1124:^
1093:^
1061:.
964:,
894:.
695:.
687:,
683:,
643:,
625:.
497:).
476:.
468:,
441:.
433:,
421:,
393:,
381:,
377:,
373:,
338:.
323:.
250:.
242:.
234:,
230:,
226:,
222:,
214:,
163:,
159:,
144:.
128:,
124:,
1970:e
1963:t
1956:v
1849:X
1837:.
1806:.
1788:.
1774:.
1740:.
1722:.
1704:.
1668:.
1649:.
1561:6
1497:X
1485:.
1454:.
1422:.
1396:.
1359:.
1326:.
1296:.
1285::
1236:.
1176:.
1118:.
933:X
931:‘
796:)
790:(
785:)
781:(
771:·
764:·
757:·
750:·
723:.
597:.
357:.
97:,
55:)
51:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
