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:

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.

A2

T1 A sense of form the art of David Bomberg

PB Polski Instytut Studiów nad Sztuką Świata

PP

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, ...

ISBN/ISSN:

978-83-62737-97-0

DOI:

-

Wydawnictwo:

Polski Instytut Studiów nad Sztuką Świata

Rok wydania:

2015

Liczba stron:

324

XML:ISBN/ISSN:

Spis treści niedostępny

Introduction

InanarticlepublishedinArtReviewinJanuary1996,RichardInglebyreferred

toBombergasuabrightstarineclipse”,astatementwhichwellreflectsthe

unjustneglecttheartisthadsufferedmostofhislife

1

lHedidnothavearet-

rospectiveexhibitioninanyoftheprestigiousLondongalleriesduringhislife-

timelItwasonlyin1957-ayearaftertheartist’sdeath-thattheTateGallery

inLondondecidedtoholdaretrospectiveofhisworks,whichcame,however,

toolatetocompensateBombergforthedisregardhehadexperiencedl

TheignoranceofthemajorartinstitutionsinBritainwasfurtherdemon-

stratedbyatrulymisguidedpurchasemadebytheTatelDuringBomberg’slife-

timethegallerypurchasedjusttwoofhisminorstudentworkswhichcould

hardlybeconsideredrepresentativeofhisfullartisticabilitylOthermainstream

gallerieswerenotkeenonbuyinghisworkseitherlThehumiliationheexperi-

encedfromtheTatewasatitsmostextremeduringtheexhibitionWyndham

LewisandVorticism,inwhichBomberg,whoneverconsideredhimselfaVorti-

cist,wasrepresentedbythesetwoinsignificantworksinasectioncalleduOth-

erVorticists”lDuringhislifetime,Bombergmountedanumberofshowsinless

prominentvenuesfamousfortheiravant-gardecharacterlButifcriticswere

atallbotheredtowritetheirreviewsoftheseexhibitions,theywererarelysup-

portiveorencouragingofBombergl

DuringtheGreatWar,Bomberghaddifficultiesinacquiringacommission

topaint,butwhenhefinallydid,hiscanvasSappersatWorkfortheCanadi-

anWarMemorialFundwasrejectedlThisforcedtheartisttopaintitagain

inamannerthatwascompletelyalientohisownvisionofthescene,purely

topleasetheofficialslSuchalackofunderstandingwasaharshblowtoanart-

istofhiskind,butsadlyitcontinuedthroughouthislifelDuringtheSecond

WorldWarheonlymanagedtoobtainasmallcommission,followinghundreds

ofrequests,forasinglepainting,fromtheWarArtists’AdvisoryCommittee,

whosupportedmanyartistsoflesserabilitiesl

1Ingleby(1996)l