The following text was taken from the Tate Collection website. David Bomberg
Bomberg was the most audacious painter of his generation at the Slade. His treatment of the human figure, in terms of angular, clear-cut forms charged with enormous energy, reveals his determination to bring about a drastic renewal in British painting.
The direction taken by his art brought him into contact with Wyndham Lewis and the Vorticists, but Bomberg resisted Lewis's attempts to enlist him as a member of the movement.
Vision of Ezekiel, 1912
With the advent of World War I, everything changed dramatically. By November 1915 Bomberg had enlisted in the Royal Engineers, and his harrowing experiences at the Front brought about a profound transformation in his outlook.
Bomberg never again returned to this dogged and limiting idiom, but he did explore a radically different path during the 1920s. His disillusion with the
Bathing Scene, circa 1912-13
destructive power of the machine at war led to a few years spent experimenting with ways of making his stark pre-war style more rounded and organic.
Throughout the 1930s Bomberg's art became broader and more impassioned as he sought to convey the essence of his response to landscapes in Scotland and Spain. This work met with little approval in Britain, and during World War II his outstanding series of Bomb Store paintings did not lead to further commissions from the War Artists Committee, despite his repeated requests. His last years were darkened by the realization that his art remained overlooked and even belittled in Britain. His final landscapes and figure paintings include some of his most powerful works.