Editing David Bomberg

{{Short description|British painter}}
{{Use dmy dates|date=November 2020}}
{{Use British English|date=June 2012}}
{{Infobox artist
|name = David Bomberg
|image = Photo of Davis Bomberg.jpg
|caption = Photograph of David Bomberg, c.1925.
|birth_name = David Bomberg
|birth_date = {{birth date|1890|12|5|df=y}}
|birth_place = [[Birmingham]], England
|death_date = {{death date and age|1957|8|19|1890|12|5|df=y}}
|death_place = [[London]], England
|field = Painting, drawing, teaching
|training = {{unbulleted list |[[Westminster School of Art]],|[[Slade School of Art]]}}
|employer = [[Borough Polytechnic]]
|movement = [[Vorticism]], [[Cubism]], [[Futurism (art)|Futurism]]
|works = 
|patrons =
|awards =
}}
'''David Garshen Bomberg''' (5 December 1890 – 19 August 1957) was a British painter, and one of the [[Whitechapel Boys]].

Bomberg was one of the most audacious of the exceptional generation of artists who studied at the [[Slade School of Art]] under [[Henry Tonks]], and which included [[Mark Gertler (artist)|Mark Gertler]], [[Stanley Spencer]], [[C.R.W. Nevinson]], and [[Dora Carrington]].<ref name="DBHcrisis">{{cite book|author=David Boyd Haycock|author-link=David Boyd Haycock|publisher=Old Street Publishing (London)|year=2009|title=A Crisis of Brilliance: Five Young British Artists and the Great War|isbn=978-1-905847-84-6}}</ref> Bomberg painted a series of complex geometric compositions combining the influences of [[cubism]] and [[futurism (art)|futurism]] in the years immediately preceding [[World War I]]; typically using a limited number of striking colours, turning humans into simple, angular shapes, and sometimes overlaying the whole painting a strong grid-work colouring scheme. He was expelled from the [[Slade School of Art]] in 1913, with agreement between senior teachers Tonks, Frederick Brown and [[Philip Wilson Steer]], because of the audacity of his breach from the conventional approach of that time.<ref name="Isaac Rosenberg 2008">[[Jean Moorcroft Wilson]] — ''Isaac Rosenberg'' (2008)</ref>

Whether because his faith in the machine age had been shattered by his experiences as a private soldier in the trenches or because of the pervasive retrogressive attitude towards modernism in Britain, Bomberg moved to a more figurative style in the 1920s and his work became increasingly dominated by portraits and landscapes drawn from nature. Gradually developing a more [[expressionist]] technique, he travelled widely through the Middle East and Europe.

From 1945 to 1953, Bomberg worked as a teacher at [[Borough Polytechnic]] (now [[London South Bank University]]) in London, where his pupils included [[Frank Auerbach]], [[Leon Kossoff]], Philip Holmes,<ref>{{cite book|first=Robert  |last=Hughes |page=30 |url=http://www.philipholmes.com |title=Frank Auerbach |year=1990 |publisher=Thames and Hudson |isbn=0-500-09211-7 |access-date=2014-12-12 |url-status=live |archive-url=https://web.archive.org/web/20161101192210/http://www.philipholmes.com/|archive-date=1 November 2016}} Philip Holmes' website]</ref> [[Cliff Holden]], [[Edna Mann]], [[Dorothy Mead]], [[Gustav Metzger]], [[Dennis Creffield]], Cecil Bailey, and [[Miles Richmond]].<ref>[http://www.milesrichmond.co.uk Miles Richmond's website]  {{webarchive|url=https://web.archive.org/web/20161002221807/http://www.milesrichmond.co.uk/|date=2 October 2016 }}</ref> [[David Bomberg House]], one of the student halls of residences at London South Bank University, is named in his honour. He was married to landscape painter [[Lilian Holt]].

==Early years==
[[File:DavidBomberg-SelfPortrait19.png|thumb|''Self-Portrait'' (1931), charcoal and wash.]]
David Bomberg was born in the [[Lee Bank]] area of [[Birmingham]] on 5 December 1890.<ref name="Hyman">[http://www.jameshymangallery.com/pages/biography/80/david_bomberg.html "David Bomberg"] {{webarchive |url=https://web.archive.org/web/20140202214635/http://www.jameshymangallery.com/pages/biography/80/david_bomberg.html |date=2 February 2014 }} Retrieved 29 January 2014.</ref> He was the seventh of eleven children of a [[Poland|Polish]] [[Jewish]] immigrant leatherworker, Abraham, and his wife Rebecca.<ref>{{cite news|url=https://heni.com/talks/the-outsider-genius-david-bombergs-self-portraits|author=Richard Cork|title=The Outsider Genius: David Bomberg’s Self-Portraits|work=HENI Talks}}</ref>  He was Orthodox but she less so and supported David's painting ambitions.<ref name="JewishQ">[http://www.tandfonline.com/doi/abs/10.1080/0449010X.1987.10703750?journalCode=rjeq20 "David Bomberg: an East End childhood"] ''www.tandfonline.com''{{dead link|date=November 2016|bot=InternetArchiveBot|fix-attempted=yes}}</ref> In 1895, his family moved to [[Whitechapel]] in the [[East End of London]] where he was to spend the rest of his childhood.<ref name="dnb">{{cite encyclopedia|last=Cork|first=Richard|author-link= Richard Cork|encyclopedia=Oxford Dictionary of National Biography|title=Bomberg, David Garshen (1890–1957)|url=http://www.oxforddnb.com/view/article/37206|access-date=2008-01-18|edition=Online|date= May 2006|publisher=Oxford University Press|location=Oxford |doi=10.1093/ref:odnb/37206}}</ref>

After studying art at [[City and Guilds]], Bomberg returned to Birmingham to train as a [[lithography|lithographer]]<ref>{{cite web|url=http://www.search.digital-ladywood.org.uk/engine/resource/default.asp?resource=9109 |archive-url=https://web.archive.org/web/20110721040538/http://www.search.digital-ladywood.org.uk/engine/resource/default.asp?resource=9109 |url-status=dead |archive-date=2011-07-21 |title=The artist David Bomberg |access-date=2008-01-19 |work=Digital Ladywood }}</ref> but quit to study under [[Walter Sickert]] at [[Westminster School of Art]] from 1908 to 1910. Sickert's emphasis on the study of form and the representation of the "gross material facts" of urban life were an important early influence on Bomberg,<ref name="abbothall">{{cite web|url=http://www.abbothall.org.uk/exhibitions/bomberg06.shtml |title=David Bomberg: Spirit in the Mass |access-date=2008-01-19 |last=Cork |first=Richard |author-link=Richard Cork |year=2006 |publisher=Abbot Hall Art Gallery, Kendal |archive-url=https://web.archive.org/web/20070924233127/http://www.abbothall.org.uk/exhibitions/bomberg06.shtml |archive-date=24 September 2007 |url-status=dead}}</ref> alongside [[Roger Fry]]'s 1910 exhibition ''Manet and the Post-Impressionists'', where he first saw the work of [[Paul Cézanne]].<ref name="dnb" />

Bomberg's artistic studies had involved considerable financial hardship but in 1911, with the help of [[John Singer Sargent]] and the [[Jewish Education Aid Society]], he was able to attain a place at the [[Slade School of Art]].<ref name="tate">{{cite web|url=http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=777&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio|title=David Bomberg|access-date=2008-01-18|last=Cork|first=Richard|author-link=Richard Cork|publisher=Tate|archive-date=22 June 2008|archive-url=https://web.archive.org/web/20080622142242/http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=777&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio|url-status=dead}}</ref>

==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>

==Pre-war avant-garde==
[[File:Bomberg, The Mud Bath.jpg|thumb|''[[The Mud Bath]]'' (1914; [[Tate Gallery]]).]]
Expelled from the Slade in the Summer of 1913, Bomberg formed a series of loose affiliations with several groups involved with the contemporary English avant-garde, embarking on a brief and acrimonious association with the [[Bloomsbury Group]]'s [[Omega Workshops]] before exhibiting with the [[Camden Town Group]] in December 1913. His enthusiasm for the dynamism and aesthetics of the machine age gave him a natural affinity with [[Wyndham Lewis]]'s emerging [[Vorticism|vorticist]] movement, and five of his works featured in the founding exhibition of the [[London Group]] in 1914.<ref name="dnb" /> Still, Bomberg was staunchly independent and despite Lewis' attempts he never officially joined Vorticism.<ref name=Hyman/> In July 1914 he refused involvement with the Vorticist [[literary magazine]] ''[[BLAST (magazine)|BLAST]]'' and in June of the following year his work featured only in the "Invited to show" section of the vorticist exhibition at London's Dore Gallery.
In 1914 he met his first wife Alice Mayes a resourceful and practical woman about ten years older than him who had worked with Kosslov's Ballet Company. Their mutual interest in experimental dance and the Russian ballet may have helped bring them together. Alice helped Bomberg in the early part of his career both with financial support and in influencing his appearance and character.
1914 saw the highpoint of his early career – a solo exhibition at the [[Chenil Gallery]] in [[Chelsea, London|Chelsea]] which attracted positive reviews from [[Roger Fry]] and [[T. E. Hulme]] and attracted favourable attention from experimental artists nationally and internationally.<ref name="tate" /> The exhibition featured several of Bomberg's early masterpieces, most notably ''[[The Mud Bath]]'' (1914), which was hung on an outside wall surrounded by [[Union Flag]]s – causing "the horses drawing the 29 bus... to shy at it as they came round the corner of King's Road."<ref name="hubbard" />
<blockquote>
"I look upon Nature while I live in a steel city" he explained in the exhibition catalogue "I APPEAL to a Sense of Form ... My object is the construction of Pure Form. I reject everything in painting that is not Pure Form."<ref name="tate" />
</blockquote>

With the help of [[Augustus John]], Bomberg sold two paintings from this exhibition to the influential American collector [[John Quinn (collector)|John Quinn]].<ref name="raynor" />
Alice and David enjoyed a trip to Paris with the proceeds of the sale of several pictures in 1914 which led to them marrying in 1916 after Bomberg had enlisted in the Royal Engineers in November 1915.

==World War I and after==
[[File:Sappers at work - Canadian Tunnelling Company, R14, St Eloi Art.IWMART2708.jpg|thumb|''Sappers at Work: A Canadian Tunnelling Company, Hill 60, St Eloi'' by David Bomberg, which bears a reference to [[1st Canadian Tunnelling Company]].]]
[[File:David Bomberg.jpg|thumb|Photograph of David Bomberg, taken in [[Jerusalem]], 1924.]]
Despite the success of his Chenil Gallery exhibition Bomberg continued to be dogged by financial problems. In 1915, he enlisted in the [[Royal Engineers]], transferring in 1916 to the [[King's Royal Rifle Corps]] and in March of that year, shortly after marrying his first wife, being sent to the [[Western Front (World War I)|Western Front]].<ref name="dnb" />

[[World War I]] was to bring a profound change to Bomberg's outlook. His experiences of its mechanized slaughter and the death of his brother in the trenches – as well as those of his friend [[Isaac Rosenberg]] and his supporter [[T. E. Hulme]] – permanently destroyed his faith in the aesthetics of the machine age.<ref name="hubbard" /> This can be seen most clearly in his commission for the [[Canadian war memorials|Canadian War Memorials Fund]], ''Sappers at Work'' (1918–1919): his first version of the painting was dismissed as a "futurist abortion" and was replaced by a second far more representational version.<ref name="raynor"/>

The [[artist's book]] ''[[Russian Ballet (book)|Russian Ballet]]'', 1919, was the last work to use the pre-war vorticist idiom. Bomberg self-published this work whilst waiting for the Canadian Government's verdict on ''Sappers at Work''; the next few years was to see him 'experimenting with ways of making his stark pre-war style more rounded and organic'.<ref name="dnb" />

In radical opposition to the prevailing currents in avant-garde art, stimulated as these were by the enthusiasm for mechanization in [[Constructivism (art)|Constructivism]] in Russia following the [[Russian Revolution (1917)|Revolution]], Bomberg went to paint and draw in [[Mandatory Palestine|Palestine]] between 1923 and 1927, with the assistance of the Zionist Organization. There he brought together the geometric energies of his pre-war work as an "English cubist" with the tradition of figurative observation of the English landscape school of [[J. M. W. Turner|Turner]], [[John Constable|Constable]], [[Girtin]] and [[John Sell Cotman]].

==The return to order==

[[File:Bomberg, Tregor and Tregoff, Cornwall.jpg|thumb|right|''Tregor and Tregoff, Cornwall'', 1947, [[Tate Gallery]]]]
From there followed Bomberg's great period of painting and drawing in landscape, in Spain at [[Toledo, Spain|Toledo]] (1928), [[Ronda]] (1934–35 and 1954–57) and [[Asturias]] (1935), in [[Cyprus]] (1948) and intermittently in Britain, perhaps most powerfully in Cornwall. A six-month stay at [[Odessa]] in the [[Soviet Union]] in the second half of 1933, following [[Adolf Hitler|Hitler's]] seizure of power in Germany, led Bomberg on his return to London to immediate resignation from the [[Communist Party of Great Britain|Communist Party]]. During [[World War II]], he painted ''Evening in the City of London'' (1944), showing the blitzed city viewed rising up to a triumphant, surviving [[St Paul's Cathedral]] on the horizon, since described as the "most moving of all paintings of wartime Britain" ([[Martin Harrison (curator)|Martin Harrison]]); a series of flower paintings saturated with turbulent feeling; and his single commission as a war artist, a series of "Bomb Store" paintings (1942) expressing Bomberg's expanded first-hand sense of the destructive powers of modern technology in warfare. These "Bomb Store" paintings convey a premonitory sense of the [[RAF Fauld explosion|massive explosion]] that destroyed the underground store two years later, killing around 70 people, and bear comparison with [[Giovanni Battista Piranesi|Piranesi]]'s ''Carceri'' etchings.

Bomberg's superb draughtsmanship was expressed also in a lifelong series of portraits, from the early period of his Botticelli-like "Head of a Poet" (1913), a pencil portrait of his friend the poet [[Isaac Rosenberg]] for which he won the Henry Tonks Prize at the [[Slade School of Fine Art|Slade]], to his "Last Self-Portrait" (1956), painted at Ronda, a meditation also on [[Rembrandt]].

Unable to get a teaching position after World War II in any of the most prestigious London art schools, Bomberg became the most exemplary teacher of the immediate post-war period in Britain, working part-time in a [[National Bakery School|bakery school]] at the [[Borough Polytechnic]] (now [[London South Bank University]]) in the working-class borough of Southwark. Though his students received no grant and were awarded no diploma, he attracted devoted and highly energetic pupils, with whom he exhibited on an equal basis in London, Oxford, and Cambridge in two important artists' groupings in which he was the leading light, the [[Borough Group]] (1946–51) and the [[Borough Bottega]] (1953–55). He developed a deeply considered philosophy of art, set out in several pieces of writing, which he summed up in the phrase, "The Spirit in the Mass".

Following a collapse in [[Ronda]], Bomberg died in London in 1957, his critical stock rising sharply thereafter. One of Bomberg's admirers, the painter [[Patrick Swift]], unearthed and edited Bomberg's pensées, and was later to publish them, along with images of Bomberg's work, as 'The Bomberg Papers' in his [[X (magazine)|‘'''X'''’ magazine]] (June 1960).<ref>David Bomberg, 'The Bomberg papers', ''X'', Vol. I, No. 3 (June 1960); ''An Anthology from X'', Oxford University Press (1988)</ref> After his early success before the First World War, he was in his lifetime the most brutally excluded artist in Britain. Having lived for years on the earnings of his second wife, fellow artist [[Lilian Holt]] and remittances from his sister Kitty, he died in absolute poverty.

==Posthumous reception==
Thirty years after his death, a major retrospective of Bomberg's work curated by [[Richard Cork]] was held at the [[Tate Gallery]], London, in 1988.<ref>Cork, Richard [http://www1.lsbu.ac.uk/w2/boroughroadgallery/how-i-discovered-bomberg/ "How I Discovered Bomberg"] {{webarchive |url=https://web.archive.org/web/20160304074452/http://www1.lsbu.ac.uk/w2/boroughroadgallery/how-i-discovered-bomberg/ |date=4 March 2016 }} Borough Road Gallery, Retrieved 29 January 2014.</ref>

In 2006, Abbot Hall Art Gallery in [[Kendal]], [[Cumbria]], mounted the first major exhibition of Bomberg's paintings for nearly twenty years: ''David Bomberg: Spirit in the Mass'' (17 July – 28 October 2006).<ref name="abbothall"/> Prior to that, the exhibition ''David Bomberg en Ronda'' at the Museo Joaquin Peinado in Ronda in Andalusia (1–30 October 2004) showed work by Bomberg in the city and environment which he had celebrated in paintings and drawings in 1934-35 and 1954–57. Work from one of the best collections in private hands was shown on the fiftieth anniversary of his death in the exhibition ''In celebration of David Bomberg 1890-1957'' at Daniel Katz Gallery, Old Bond Street, London (30 May – 13 July 2007).<ref>Haden-Guest, Anthony [https://archive.today/20160116014513/http://www.ft.com/cms/s/0/4df98b44-25ef-11dc-b338-000b5df10621.html "Modernist in Motion"] ''The Financial Times'', Retrieved 29 January 2014.</ref>

London South Bank University, the site of Bomberg's teaching at the former Borough Polytechnic, received a gift of more than 150 paintings and drawings by Bomberg and his students in the Borough Group – principally Dorothy Mead, Cliff Holden, [[Miles Richmond]], and [[Dennis Creffield]] — the David Bomberg Legacy.<ref name="connected">{{cite journal|url=https://alumni.lsbu.ac.uk/downloads/connected/connectedIssue6.pdf |title=A Lasting Legacy |journal=Connected |date=Spring 2009 |volume=6 |pages=11–13 |url-status=dead |archive-url=https://web.archive.org/web/20110807120203/https://alumni.lsbu.ac.uk/downloads/connected/connectedIssue6.pdf |archive-date=7 August 2011}}</ref> The gallery, formally launched on 14 June 2012, to display the artworks donated to the university by Sarah Rose has been made possible by the Heritage Lottery Fund.<ref name="PCF">[http://www.thepcf.org.uk/collections/109/reference/27/ "Borough Road Gallery"] {{webarchive |url=https://web.archive.org/web/20140201222028/http://www.thepcf.org.uk/collections/109/reference/27/ |date=1 February 2014 }} The Public Catalogue Foundation, Retrieved 29 January 2014.</ref> The collection is the work of Sarah Rose, who built her collection over thirty years.<ref name=PCF/> The London South Bank University Borough Road Gallery planned to hold two exhibitions a year, drawn from the Sarah Rose collection.{{fact|date=December 2024}}

The [[Nasher Museum of Art]] at [[Duke University]] held an exhibition entitled ''The [[Vorticism|Vorticists]]: Rebel Artists in London and New York, 1914-18'' from 30 September 2010 through 2 January 2011.<ref>[http://nasher.duke.edu/exhibitions_vorticists.php Nasher Museum] {{webarchive |url=https://web.archive.org/web/20130308220042/http://nasher.duke.edu/exhibitions_vorticists.php |date=8 March 2013 }} Retrieved 17 September 2010</ref> [[Tate Britain]] held an exhibition entitled The ''Vorticists: Manifesto for a Modern World'' between 14 June and 4 September 2011. In the 2011 BBC series, ''British Masters'', Bomberg was singled out as being one of the greatest painters of the 20th Century. He was one of the six artists included in [[Dulwich Picture Gallery]]'s 2013 summer exhibition, "Nash, Nevinson, Spencer, Gertler, Carrington, Bomberg: A Crisis of Brilliance, 1908-1922".<ref>[https://web.archive.org/web/20160207053436/http://www.dulwichpicturegallery.org.uk/exhibitions/coming_soon/a_crisis_of_brilliance.aspx "Nash, Nevinson, Spencer, Gertler, Carrington, Bomberg: A Crisis, 1908-1922"] Dulwich Picture Gallery, Retrieved 29 January 2014.</ref>

[[David Bowie]] purchased work by Bomberg and kept it in his [[David Bowie's art collection|private collection]], part of which was sold at auction after Bowie's [[Death of David Bowie|death]] in 2016.<ref name=sh>{{Cite web |url=http://www.sothebys.com/en/news-video/blogs/all-blogs/bowie-collector/2016/11/bowie-collector-auction-results.html |title=Sotheby's: David Bowie's Art Captivates Collectors |access-date=2016-12-05 |archive-date=2018-01-01 |archive-url=https://web.archive.org/web/20180101213145/http://www.sothebys.com/en/news-video/blogs/all-blogs/bowie-collector/2016/11/bowie-collector-auction-results.html |url-status=dead }}</ref>

In 2017, the [[Pallant House Gallery]] in [[Chichester]] mounted a major exhibition of Bomberg's work curated in partnership with the [[Ben Uri Gallery|Ben Uri Gallery & Museum]] of St John's Wood, [[London]].<ref>{{cite news| last=Hudson | first=Mark | title=Welcome catch-up with a brilliant but awkward outsider – Bomberg | newspaper=[[Daily Telegraph|The Telegraph]] | location=UK | date=2017-10-30 | url=https://www.telegraph.co.uk/art/what-to-see/welcome-catch-up-brilliant-awkward-outsider-bomberg-pallant/}}</ref>

==References in fiction==
In ''Restless'', William Boyd's 2006 novel, there is a reference to a portrait by Bomberg of one of the book's major (fictional) characters. The painting is said to occupy a place in the National Portrait Gallery in London.
In ''A Palestine Affair'', a 2003 novel by Jonathan Wilson, the character "Mike Bloomberg" is loosely based on Bomberg's life, as acknowledged by the author: "Richard Cork's 'David Bomberg'  [was] ... of inestimable value to me in constructing this fiction".
Glyn Hughes's novel, ''Roth'' (Simon & Schuster, London, 1992) – its leading character, a London Jewish painter, its cover carrying a reproduction of one of Bomberg's Cyprus landscapes, is also loosely based on the author's reflections on Bomberg.

==References==
{{Reflist}}

==Further reading==
* ''David Bomberg 1890–1957: Paintings and Drawings,'' Tate Gallery, London, Arts Council of Great Britain (organizer), 1967. (Exhibition catalogue.)
*  Roy Oxlade, ''David Bomberg, 1890–1957''. London: [[Royal College of Art]], 1977. {{ISBN|0-902490-23-0}}.
* [[Nicholas Serota]] and Jennifer Brook (editors), ''David Bomberg: the Later Years''. London: Whitechapel Art Gallery, 1979. (Exhibition catalogue.) {{ISBN|0-85488-045-3}}.
* ''David Bomberg in Palestine, 1923–1927''. Curator in charge, Stephanie Rachum; assistant curator, Hedva Raff; English editing, Barbara Gingold. Jerusalem: [[Israel Museum]], 1983. (Exhibition catalogue.) {{ISBN|965-278-015-4}}.
* ''David Bomberg, 1890–1957: a Tribute to Lilian Bomberg, March 14 – April 12, 1985.'' London: Fischer Fine Art Ltd. Uxbridge, Middlesex: Hillingdon Press, 1985.
* {{cite journal| first=Kate | last=Aspinall | title=Artist Versus Teacher: The Problem of David Bomberg’s Pedagogical Legacy | journal=Tate Papers | volume=33 | date=2020 | url=https://www.tate.org.uk/research/tate-papers/33/artist-versus-teacher-problem-david-bomberg-pedagogical-legacy | publisher=[[Tate]] | location=UK }}
* [[Richard Cork]], ''David Bomberg''. [[Yale University Press|Yale]], 1987. {{ISBN|0-300-03827-5}}.
* ''David Bomberg: Spirit in the Mass; Abbot Hall Art Gallery, Kendal, 17 July – 28 October 2006''. Lakeland Arts Trust, 2006. (Exhibition catalogue.) {{ISBN|1-902498-28-3}}.
* ''David Bomberg en Ronda; Museo Joaquin Peinado, Ronda, 1–30 October 2004''. Museo Joaquin Peinado, 2004. (Exhibition catalogue with text by Richard Cork and Michael Jacobs.) {{ISBN|0-9545058-1-6}}.
* ''In Celebration of David Bomberg 1890–1957; Daniel Katz Gallery, London, 30 May – 13 July 2007''. Daniel Katz Ltd, 2007. (Exhibition catalogue with text by Richard Cork and Miles Richmond.) {{ISBN|978-0-9545058-5-1}}
* [[Jean Moorcroft Wilson]], ''Isaac Rosenberg: The Making of a Great War Poet''. London: Weidenfeld and Nicolson, 2008. {{ISBN|978-0-297-85145-5}}.
* ''The Bomberg Papers'' (Bomberg's pensées; unearthed and edited by [[Patrick Swift]]), [[X (magazine)|X]], Vol. 1, No. 3, June 1960; ''An Anthology from X'' (Oxford University Press 1988).
* ''Bomberg'' Sarah MacDougall & Rachel Dickson, Ben Uri Gallery and Museum, London 2017 {{ISBN|978-0900157615}}

==External links==
{{Commons category|David Bomberg}}
{{Wikiquote}}
* {{Art UK bio}}
* {{Internet Archive author |sname=David Bomberg}}
* [https://www.benuricollection.org.uk/intermediate.php?artistid=185 14 artworks by David Bomberg] at the [https://benuri.org/ Ben Uri] site
* [https://web.archive.org/web/20041207011625/http://www.jewishquarterly.org/article.asp?articleid=21 Article on the Whitechapel Boys]
* [http://arts.guardian.co.uk/reviews/story/0,,1831021,00.html Guardian review of Abbot Hall exhibition]
* [http://www.borough.artonlinelimited.com/ Laurie Stewart, ''Notes on the Borough Group of Artists''] {{Webarchive|url=https://web.archive.org/web/20081011190246/http://www.borough.artonlinelimited.com/ |date=11 October 2008 }}
* [http://www.cliffholden.co.uk/documents_2004_10.shtml Cliff Holden, ''The History of the Borough Group of Artists,'' 2004]
* [https://web.archive.org/web/20110807120203/https://alumni.lsbu.ac.uk/downloads/connected/connectedIssue6.pdf Connected, Spring 2009, Journal of alumni of London South Bank University]

{{Authority control}}

{{Vorticism}}

{{DEFAULTSORT:Bomberg, David}}
[[Category:1890 births]]
[[Category:1957 deaths]]
[[Category:20th-century English painters]]
[[Category:Academics of London South Bank University]]
[[Category:Alumni of the Slade School of Fine Art]]
[[Category:Alumni of the Westminster School of Art]]
[[Category:Borough Group]]
[[Category:British Army personnel of World War I]]
[[Category:English Jews]]
[[Category:English male painters]]
[[Category:English people of Polish-Jewish descent]]
[[Category:Jewish painters]]
[[Category:King's Royal Rifle Corps soldiers]]
[[Category:Painters from London]]
[[Category:Royal Engineers soldiers]]
[[Category:Vorticists]]
[[Category:Whitechapel Boys]]
[[Category:World War II artists]]
[[Category:20th-century British war artists]]
[[Category:20th-century English male artists]]