Wyndham Lewis (2004) by Richard Humphreys

WYNDHAM LEWIS
by
Richard Humphreys
British Artists
Tate Publishing

Boek met zwarte kaft met illustratie met geel/oranje letteropdruk in perfecte (onbelezen) conditie;
80 pagina's met tientallen kleuren- en zwart/wit foto's, afbeeldingen, illustraties enz.;

Wvndham Lewis (1882-1957), the selfstyled 'Enemy', was the most important British writer-artist of the twentieth century. In this, the first introduction to explore Lewis's work both as a painter and a writer, Richard Humphreys examines his hugely varied output, and explains his ideas about art, life and politics.
Leader of the Vorticist movement before the First World War, Lewis was a pioneer of modernism in Britain. As well as creating a powerful body of paintings and drawings, and editing magazines such as Blast and The Tyro, Lewis wrote short stories, essays, novels and books on philosophy, literature. politics and cultural criticism. Dogged by controversy as a satirist and for his political views between the wars, Lewis lived in North America during the Second World War before ending his career, blind. in London.
Fully illustrated throughout, Wyndham Lewis examines the legacy of this controversial but inspiring figure, the scale of whose contribution to the history of modernism is at last being recognised.

Richard Humphreys is Curator, Programme Research at Tate, and author of The Tate Britain Companion to British Art.

CONTENTS

1 A Skeleton in the Cupboard'
2 'Cryptic Immaturity' 1882-1908
3 'Hob-goblin Tricks' 1909-1912
4 'Complicated Images' 1912-1914
5 'Monstrous Carnival' 1915-1919
6 'What is This Place We Are In?' The 1920S
7 'Lonely Old Volcano' The 1930s
8 'The Human Age' 1940-1957

Notes
Chronology, with a list of Lewis's major publications
Bibhography
Index

My first real contact with Wyndham Lewis took place exactly thirty years ago in Cambridge. J.H. Prynne's lecture on 'Enemy of the Stars', Walter Michel's recently published catalogue of the paintings and drawings. Richard Cork's Vorticism exhibition at the Hayward Gallery and Alan Munton's enthusiasm, set me off on an interest which finds some kind of conclusion with this short introduction. Since then I have benefited from the passion and knowledge of many others - Cy Fox, Michael Durman, Paul O'Keeffe, Peter Caracciolo and Graham Lane have been particularly important in sustaining my engagement with this amazing and tricky character. Andrew Brighton and Lisa Tickner have provided me with invaluable insights. Above all, I am indebted to the work of Paul Edwards whose recent magisterial study of Lewis made my job of trying to condense a lot into a short space so much easier. As ever I must thank my daughter Olivia, my mother and my parents-in-law, Pamela and Daniel Waley, for their endless support of all I do.