A sense of form the art of David Bomberg

Dominika Buchowska

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ISBN/ISSN:

978-83-62737-97-0

DOI:

Wydawnictwo:

Polski Instytut Studiów nad Sztuką Świata

Rok wydania:

2015

Liczba stron:

324

XML:ISBN/ISSN:

ONIX MARC21

Bibliografia:

Buchowska, Dominika. A sense of form the art of David Bomberg. Red. . : Polski Instytut Studiów nad Sztuką Świata, 2015, 324 s. ISBN 978-83-62737-97-0

Bibliografia refWorks:

RT Book, Whole

SR Electronic(1)

A1 Buchowska, D.

T1 A sense of form the art of David Bomberg

PB Polski Instytut Studiów nad Sztuką Świata

YR 2015

SN 978-83-62737-97-0

Bibliografia BibTex:

@Book{ 189527, author = "Buchowska, Dominika", editor = "", title = "A sense of form the art of David Bomberg", publisher = "Polski Instytut Studiów nad Sztuką Świata", year = "2015", address = "", isbn = "978-83-62737-97-0" }

Bibliografia endNote:

TY - BOOK

AU - Buchowska, Dominika

ED -

TI - A sense of form the art of David Bomberg

PB - Polski Instytut Studiów nad Sztuką Świata

CY -

PY - 2015

SN - 978-83-62737-97-0

ER -

Netografia (standard APA):

Buchowska, Dominika. A sense of form the art of David Bomberg [baza danych online] : Polski Instytut Studiów nad Sztuką Świata, 2015 [dostęp: 03 07 2024]. Dostęp w Ibuk Libra: https://libra.ibuk.pl/reader/a-sense-of-form-the-art-of-david-bomberg-dominika-buchowska-189527.

historia sztuki, sztuka XX wieku, David Bomberg

David Bomberg’s art is known mainly for its highly modernist experiments with form during the early twentieth century. In his most famous works from this period, the artist breaks the human figure into clear-cut, geometric shapes and cubes, ...

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ISBN/ISSN:

978-83-62737-97-0

DOI:

Wydawnictwo:

Polski Instytut Studiów nad Sztuką Świata

Rok wydania:

2015

Liczba stron:

324

XML:ISBN/ISSN:

ONIX MARC21

Spis treści niedostępny

“ASenseofForm”:theartofDavidBomberg

experience,andthoselikeSickert,whofeltthatartneededtobeunderwritten

bythesecurityofitsreferencetoaworldofugrossmaterialfacts””65l

Theexhibitionprecipitatedasheerbreakfromrecenttrendsinpaintingl

AsCliveBelllaterrecalled,utomanyofusPost-Impressionistmeantanti-Im-

pressionist”66lThetimingoftheexhibitionhighlightedthethreatposedbythe

newartwhichwasexacerbatedbythegeneralsocio-politicalunrest:thecon-

tinuingfearofGermanattackandthecoincidenceoftheshowwiththeWelsh

coal-miners’strikewhichlaterspreadtootherpartsofBritain,thegrowing

violenceoftheSuffragettesandtheLiberalscomingintopower,aswellasan-

archists’disruptions,allofwhichwereanticipatingtheapproachingchangel

In1910WalterSickertobservedthatthereemergedastyleemployinguaclean

andsolidmosaicofthickpaintinalightkey”whichsoontookonamoredecisive

roleencouragedbyPost-Impressionistinnovations67lThefermentinBritishart

wasalreadytakingplacepriortothe1910Post-Impressionistexhibition,and

tooktheformofanumberofartisticassociations,includingtheaforementioned

BloomsburyGrouplTheaimofthesemovementswastoignitetheartiststoem-

phasiseintheirworkstheformallanguage,althoughtheirdegreeofmodernity

variedlTheFridayClub,foundedbyVanessaBellin1905wastofortifythepo-

sitionofnewdirectionsinpaintinglTheweaknessofthesocietywasthatsuch

ageneralaim,apartfromitsobviousappealtotheprofessionalartistsfromthe

Bloomsburycircle,onlyreallyattractedanumberofamateursl

Theprevailingdislikeofthedominantartinstitutions,whichhadbeengrow-

ingsteadilyinrecentyears,tookformbymeansoftheAlliedArtistsAssocia-

tionlItsformation,asHarrisonclaims,uwasasignofthereluctanceofyounger

artiststosubmittheirworktothenowestablished8modern’institution68lAn

exhibitingbodyestablishedontheFrenchmodeloftheSalondesIndépendants,

wasbasedontheideaoforganisingregularjury-freeexhibitionslThefounders

wereSickert,GoreandPissarrolItsfirstexhibitionattheAlbertHallinJuly

1908displayedoverthreethousandexhibits,withentrytodisplayonpay-

mentofasubscriptionwhichallowedeachartisttoshownomorethanthree

pieces

lAsaresultofsuchanarrangementtheexhibitionswereheterogene-

ousandasubstantialnumberofunprofessionalworksweredisplayed,making

itevenmoredifficultforthe8real’avant-gardeartists,whowereoftenpenniless,

tomovetheirideasforwardl

65Harrison(1994:48)l

66Spalding(1996:37)l

67Spalding(1996:37)l

68Harrison(1994:35)l

69Spalding(1996:38)l

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A sense of form the art of David Bomberg

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