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, Stanley Spencer, C.R.W. Nevinson, and Dora Carrington. 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.
Bomberg painted a series of complex geometric compositions combining the influences of cubism and 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.
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, Cliff Holden, Edna Mann, Dorothy Mead, Gustav Metzger, Dennis Creffield, Cecil Bailey, and Miles Richmond. 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.
David Bomberg was born in the Lee Bank area of Birmingham on 5 December 1890. He was the seventh of eleven children of a Polish Jewish immigrant leatherworker, Abraham, and his wife Rebecca. He was Orthodox but she less so and supported David's painting ambitions. In 1895, his family moved to Whitechapel in the East End of London where he was to spend the rest of his childhood.
After studying art at City and Guilds, Bomberg returned to Birmingham to train as a lithographer 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, alongside Roger Fry's 1910 exhibition Manet and the Post-Impressionists, where he first saw the work of Paul Cézanne.
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.
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, Ben Nicholson, Mark Gertler and Isaac Rosenberg. (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.
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. His own style was rapidly moving away from these traditional methods, however, particularly under the influence of the March 1912 London exhibition of Italian 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 Fauvists alongside those of Wyndham Lewis, Duncan Grant and Vanessa Bell.
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." His dynamic, angular representations of the human form, combining the geometrical abstraction of cubism with the energy of the 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.
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 vorticist movement, and five of his works featured in the founding exhibition of the London Group in 1914. Still, Bomberg was staunchly independent and despite Lewis' attempts he never officially joined Vorticism. In July 1914 he refused involvement with the Vorticist literary 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 which attracted positive reviews from Roger Fry and T. E. Hulme and attracted favourable attention from experimental artists nationally and internationally. 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 Flags – causing "the horses drawing the 29 bus... to shy at it as they came round the corner of King's Road."
"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."
With the help of Augustus John, Bomberg sold two paintings from this exhibition to the influential American collector John Quinn.
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.
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.