dudelooki.blogg.se

Researchers don’t know why Lewis would have painted over a work by one of his close contemporaries. “We realized that when we turned the image of Atlantic City upside down, it had striking similarities with the composition seen in our X-rays of Praxitella,” says Chipkin in the statement.Ītlantic City portrays a “fragmented modern metropolis,” according to the Courtauld. An image of one of these artworks, Atlantic City, caught the attention of Chipkin and Kohn.

“Blast France, Blast England, Blast Humour, Blast the years 1837 to 1900,” the journal proclaimed in a manifesto that was written by Lewis and signed by 11 other artistic and literary figures-among them Henri Gaudier-Brzeska, Pound and Saunders.Ī number of Saunders’ paintings and writings were featured in Blast during its short-lived run the journal published just two editions. Published by Lewis, Blast took on this name because it “blasted” the entities that rankled Vorticists. The students, Rebecca Chipkin and Helen Kohn, spent six months analyzing the canvas with high-resolution scanning equipment, but they weren’t able to identify the hidden artwork until they came across a reproduction of one of Saunders’ paintings in Blast, the journal that unabashedly declared Vorticism’s core principles. Praxitella depicts the film critic Iris Barry, but as the Guardian’s Harriet Sherwood writes, clues pointed to the possibility that another artwork lurked underneath: Praxitella’s texture is uneven, and bright red paint peeks through cracks in its surface. Saunders’ lost painting came to light in 2019, when two students at the Courtauld undertook an X-ray study of Praxitella, which Lewis painted in 1921. And now, more than a century later, researchers have found it-hidden beneath a work by Wyndham Lewis, Vorticism’s famed founder, the Courtauld Institute of Art in London announced in a statement this week. One of those paintings was Atlantic City, created around 1915. Over time, her legacy has been largely forgotten, and nearly all of her Vorticist paintings have been lost. Helen Saunders was one of only two women to join this radical movement, now regarded as England’s first avant-garde group. It represents, in mechanics, the greatest efficiency.” The group was given its name by poet Ezra Pound, who opined that “the Vortex is the point of maximum energy. Bright colors, strong lines and harsh angles evoke the slash of modern machinery in Vorticist works. On the eve of World War I, a band of iconoclastic, London-based artists announced the debut of Vorticism, a movement that rejected “ sentimental” Victorian aesthetics in favor of bold abstraction celebrating the vitality of industrialism.