Ana McNay reviews the exhibiton Uproar! The first 50 years of The London Group 1913-1963 at the Ben Uri Museum and Gallery, London, on view through March 2, 2014.
McNay writes that the exhibition "celebrates the first 50 years of the group –which still exists today... In 50 works by 50 artists, it moves through these 50 years, encompassing a variety of styles and movements, including the Camden Town Group roots; the controversy of the early (particularly the first world war) years; the Bloomsbury domination of the 20s; the continual strong showing of Jewish and women artists; its official war artists; some avant-garde sculptors; and the contribution of specific artistic groups, ranging from the Vorticists to the Surrealists, Abstract-Creationists and the Euston Road School. The exhibition overall is a riot of colour, content and style, displaying some of the greatest British art of the early 20th century."
Chris Stephens blogs about David Bomberg's painting The Mud Bath (1914) "which is said to have been based on Schevzik's Steam Baths in London's Whitechapel... human figures – like mechanised bodies – reduced to simple planes and sharp angles." Stephens continues noting that as part of Bomberg's one-person exhibition in 1914, The Mud Bath "hung on the outside of the Chenil Galleries, as one critic observed, 'rained upon, baked by the sun and garlanded with flags'."
Chris Stephens blogs about Helen Saunders, a member of the Vorticist movement. Stephens notes that "amongst [the Vorticists'] small membership there was a significant number of women artists... Even though not many of their works have survived, what remains is a fantastic historical record... it [is] unusual to have works by Saunders that are identifiable, the fact that these works have been hidden in a drawer for eighty years means they retain their original brilliant colouring."
Bob Duggan blogs about the exhibition The Vorticists: Manifesto for a Modern World on view at Tate Britain through September 4, 2011. Duggan writes: "Perhaps no other art movement had such a cut and dried beginning and end, yet no other art movement has been so poorly defined, even today. Great, yet slightly mad, minds such as Wyndham Lewis and Ezra Pound tried their best, but strayed more into mysticism than method when attempting to put Vorticist imagery into words. The Vorticists: Manifesto for a Modern World... attempts to make sense of the Vorticists as well as reposition them in the greater scheme of modern art."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.