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In this study of the artist, writer and polymath Wyndham Lewis, Normand offers a close analysis of the complex world which Lewis's paintings inhabit. The author adopts an interdisciplinary approach to examine the relationship between Lewis's philosophical and social commentary, his political attitudes and his concerns in the visual arts. Beginning with his early career at the Slade School of Art, and his association with Augustus John, the text traces Lewis's emerging commitment to a 'classical' modernism, and goes on the explore the implications of his political associations with Oswald Moseley and British fascism. Without offering a reductivist view of the relationship between art and politics, Normand argues for a close correspondence between Lewis's political affiliations and both the form and content of his painting.Read more
- The first monograph to appear on this strongly political and often distubing artist
- Lewis stood at the centre of the English avant-garde movement Vorticism, around 1914. Close links with the Bloomsbury set. There is a great fascination with his life and politics (he became a fascist) as well as his painting
- Should appeal to universities where an interdisciplinary approach is encouraged: cultural theory and the history of ideas as well as art history
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- Date Published: December 1992
- format: Hardback
- isbn: 9780521410540
- length: 246 pages
- dimensions: 254 x 180 x 19 mm
- weight: 0.716kg
- contains: 59 b/w illus.
- availability: Unavailable - out of print March 1999
Table of Contents
List of illustrations
Introduction: Holding up the mirror to politics
1. One synthetic and various ego
2. The artist is the ideal giant
3. Only your hatred is creative
4. Some form of fascism
5. A jest too deep for laughter
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