Editing David Bomberg (section)

==The Slade==
[[File:DavidBomberg-VisionofEzekiel.jpg|thumb|right|''Vision of Ezekiel'', 1912, oil on canvas. [[Tate Gallery]].]]
At the [[Slade School of Fine Art]] Bomberg was one of the remarkable generation of artists described by their drawing master [[Henry Tonks]] as the School's second and last "crisis of brilliance" and which included [[Stanley Spencer]], [[Paul Nash (artist)|Paul Nash]], [[Ben Nicholson]], [[Mark Gertler (artist)|Mark Gertler]] and [[Isaac Rosenberg]].<ref name="DBHcrisis"/> (The "first crisis of brilliance" had occurred in the 1890s, with [[Augustus John]], [[William Orpen]] and others.) Bomberg and Rosenberg, from similar backgrounds, had met some years earlier and became close friends as a result of their mutual interests.<ref name="Isaac Rosenberg 2008" />

The emphasis in teaching at the Slade was on technique and draughtsmanship, to which Bomberg was well suited – winning the Tonks Prize for his drawing of fellow student Rosenberg in 1911.<ref name="mark barrow">{{cite web|url=http://www.modernbritishartists.co.uk/bomberg_biog.htm |title=David Bomberg biography |access-date=2008-01-19 |publisher=Mark Barrow Fine Art |archive-url=https://web.archive.org/web/20070927192257/http://www.modernbritishartists.co.uk/bomberg_biog.htm |archive-date=27 September 2007 |url-status=dead}}</ref> His own style was rapidly moving away from these traditional methods, however, particularly under the influence of the March 1912 London exhibition of Italian [[Futurism (art)|Futurists]] that exposed him to the dynamic abstraction of [[Francis Picabia]] and [[Gino Severini]], and Fry's second ''Post Impressionist'' exhibition in October of the same year, which displayed the works of [[Pablo Picasso]], [[Henri Matisse]] and the [[Fauvism|Fauvists]] alongside those of [[Wyndham Lewis]], [[Duncan Grant]] and [[Vanessa Bell]].<ref name="hubbard">{{cite news|first=Sue|last=Hubbard|title=Back in the frame|url=http://findarticles.com/p/articles/mi_qn4158/is_20060904/ai_n16708198|work=The Independent|publisher=Find Articles at BNET.com|date=4 September 2006|access-date=2008-01-19 }} {{Dead link|date=September 2010|bot=H3llBot}}</ref>

Bomberg's response to this became clear in paintings such as ''Vision of Ezekiel'' (1912), in which he proved "he could absorb the most experimental European ideas, fuse these with Jewish influences and come up with a robust alternative of his own."<ref name="tate" /> His dynamic, angular representations of the human form, combining the geometrical abstraction of [[cubism]] with the energy of the [[futurism (art)|Futurists]], established his reputation as a forceful member of the avant-garde and the most audacious of his contemporaries; bringing him to the attention of Wyndham Lewis (who visited him in 1912) and [[Filippo Marinetti]]. In 1913, the year in which he was expelled from the Slade because of the radicalism of his approach, he travelled to France with [[Jacob Epstein]], where among others he met [[Amedeo Modigliani]], [[André Derain]] and [[Pablo Picasso]].<ref name="raynor">{{cite news|first=Vivien|last=Raynor|title=A Neglected British Genius|url=https://www.nytimes.com/1988/09/25/nyregion/art-a-neglected-british-genius.html?pagewanted=all|work=The New York Times|date=25 September 1988|access-date=2008-01-20 }}</ref>