MASTERPIECES FROM THE BEN URI COLLECTION
DAVID BOMBERG (1890-1957) RACEHORSES
1913 black chalk and wash on paper
Signed and dated (lower right): D Bomberg 1913
DAVID BOMBERG
David Bomberg’s Racehorses exemplifies the artist’s radical engagement with modernist form and movement during the early 1910s Created during his association with the Vorticists an avant-garde group preoccupied with speed, machinery, and the dynamism of modern life this work reveals Bomberg’s unique approach to
abstraction rooted in the mechanical energy of the industrial age Composed of overlapping geometric planes and intersecting lines, Racehorses reduces equine anatomy to angular constructs, transforming the organic into the architectural The horses are not rendered as individual creatures but as a writhing mass of mechanical limbs, suggesting the collective momentum and violent propulsion of the racetrack Executed in ink and wash, the drawing conveys a stark palette and a rigid linearity that intensify the composition’s tension and rhythm. Bomberg employs a system of parallel hatching to delineate space and mass, while the collapsing, almost chaotic perspective evokes the visual overload of modernity. The work reflects his belief in the fusion of man and machine, and it aligns with the Futurist ethos he encountered during his 1913 trip to Paris Racehorses marks a significant phase in Bomberg’s early career, when he was breaking from the representational conventions of the Slade School to forge a personal visual language grounded in abstraction, innovation, and the energy of modern life
David Bomberg was born to Polish-Jewish parents in Birmingham, England on 12 May 1890 The family moved to Whitechapel in 1895, where he later became prominent among the ‘Whitechapel Boys’ - the term applied to a loose, informal group of young, Jewish, mainly immigrant artists who were either born, raised or worked in the
East End in the first two decades of the 20th century, and who, both collectively, and individually, made an important contribution to British Modernism. Initially apprenticed as a chromolithographer, he attended night classes under Walter Sickert and also worked as an artist’s model before studying at the Slade School of Fine Art, where he was seen as a ‘disturbing influence’ In 1913 Bomberg visited Paris with Jacob Epstein, making contact with artists including Modigliani and Picasso Bomberg’s harrowing service in the trenches during the First World War was compounded by a disastrous experience as a commissioned war artist, explored in a series of related drawings His postwar disillusionment is most powerfully expressed in the masterly Ghetto Theatre (1920), purchased the same year for the Ben Uri Collection, initiating a lifelong relationship
Afterwards, Bomberg made a series of peopled landscapes before travelling in 1923 to Jerusalem, where he began to work en plein air for the first time. Following expeditions to Jericho, Petra and Wadi Kelt, he produced a series of detailed, realistic landscapes, which evolved from tightly topographical treatments into a looser, characteristically expressionistic style, heralding the painterly achievements of his final years After a series of disappointments in the 1930s and 1940s Bomberg concentrated on portraits of friends and family, as well as a series of searching self-portraits Although only reluctantly granted a Second World War commission to paint a bomb store in 1942, Bomberg produced many drawings and paintings on the subject, among them an impressive, large-scale study for a projected (but unrealised) mural Following his visit to Spain in 1929, a renewed vigour resulted in a series of works based on the cathedral at Toledo, flowering on his second visit in 1934–35, into dramatic landscapes of the gorge at Ronda and flickering night-time processions during Holy Week
These experiments were curtailed by the onset of the Spanish Civil War, but over a decade later picked up and progressed in the west country, where his loosened handling verged on the abstract, and in Cyprus in 1948 His final works culminated in the fulfillment of his early promise after his return to Ronda, where he spent his last years After becoming seriously ill, Bomberg traveled back to England, but died in London shortly after his return, on 19 August 1957. His work is represented in the UK in a number of important public collections including the Ben Uri Collection, the British Museum, the Imperial War Museum, the Tate, and the V&A A posthumous touring exhibition (Pallant House, Chichester; Laing Art Gallery, Newcastle; Ben Uri Gallery, London), accompanied by a monograph, was organised by Ben Uri in 2017-18 His final works culminated in the fulfillment of his early promise after his return to Ronda, where he spent his last years After becoming seriously ill, Bomberg travelled back to England, but died in London shortly after his return, on 19 August 1957 His work is represented in the UK in a number of important public collections including the Ben Uri Collection, the British Museum, the Imperial War Museum, the Tate, and the V&A. A posthumous touring exhibition (Pallant House, Chichester; Laing Art Gallery, Newcastle; Ben Uri Gallery, London), accompanied by a monograph, was organised by Ben Uri in 2017-18
FOR FURTHER INFORMATION:
COLLECTION: https://benuri.org/collections/ BURU: https://www.buru.org.uk/
