Edward Wadsworth
Fred was running the thriving family business – Broomford Mill – that specialised in spinning lustrous wool for weaving braids for uniforms.Edward didn't complete his engineering degree but he did learn German and most significantly he studied art in his spare time at the Knirr School.Wadsworth's lecturer in art history at the Slade was Roger Fry who brought the work of European modern artists such as Cezanne, Gauguin and Van Gogh to London in a major exhibition 'Manet and the Post-Impressionists' at the Grafton Galleries towards the end of 1910.Edward Wadsworth describes him as slowly developing in style and choice of media whilst at the Slade, yet only really making a real aesthetic leap when he met up with Wyndham Lewis.Vorticism managed to continue into 1915, with a Vorticist exhibition in June at the Doré Gallery and a second edition of BLAST published to coincide with the show – Wadsworth contributed to both.[17] Wadsworth signed up for the Royal Naval Volunteer Reserve on 10 June 1916[18] and as a temporary sub-lieutenant he was based at Mudros on the island of Lemnos, Greece.[22] However, the pen and ink drawings of industrial landscapes that Wadsworth exhibited there were developed by him into a one-man show The Black Country that was also linked to a publication.He returned to Portland the following year and painted watercolour studies and experimented with tempera – a medium associated with the work of early Renaissance artists.Guests included avant-garde artists such as Paul Nash, Max Ernst, Pierre Roy, Laszlo Moholy-Nagy, Roland Penrose, Lee Miller and Henry Moore alongside art critics, actors, musicians, opera singers and dancers.[35] The mid-1930s saw two commissions that placed Wadsworth at the forefront of art deco design – the tea room of the De La Warr Pavilion at Bexhill-on-Sea and two huge paintings for the Cunard Line's RMS Queen Mary.This book was initiated by his grandsons Derek von Bethmann-Hollweg and Alexander Hollweg, who also became a painter and sculptor and whose life and work was celebrated in a major retrospective exhibition at The Museum of Somerset (November 2023-March 2024).After suggesting the idea and title to Andy McCluskey of Orchestral Manoeuvres in the Dark, Saville carried the theme over to the sleeve design of their album Dazzle Ships (1983).
CleckheatonWest YorkshireBayswaterLondonmodernismVorticismFirst World Wardazzle camouflageRoyal Navytemperasurrealisticpuerperal sepsisIlkleyFettes CollegeMunichBradfordSlade School of ArtLe HavreMark GertlerStanley SpencerCRW NevinsonWilliam RobertsDora CarringtonHenry TonksPhilip Wilson SteerNew English Art ClubRoger FryCezanneGauguinVan GoghWyndham LewisKensington Church StreetcubistDuncan GrantKate LechmereCuthbert HamiltonTate GalleryFilippo Tommaso MarinettiThe Battle Of AdrianopleLondon GroupWhitechapel GalleryVorticistKandinsky'sDazzle-ships in Drydock at LiverpoolNational Gallery of CanadaOttawaRoyal Naval Volunteer ReserveMudrosLemnosGreeceNorman Wilkinson'sdazzle shipsU-boatsPaul NashDavid BombergGroup XNewlynCornwallDorsetPortlandnephritisavant-gardePicassoBraqueDerainLeicester GalleriesLégerNeue SachlichkeitEast SussexMax ErnstPierre RoyLaszlo Moholy-NagyRoland PenroseLee MillerHenry MooreUnit OneBarbara HepworthBen NicholsonEdward BurraAbstraction-Créationart decoDe La Warr PavilionRMS Queen MaryWar Artists' Advisory CommitteeBuxtonDerbyshireRoyal AcademyHome GuardperitonitisAlexander HollwegPeter SavilleAndy McCluskeyOrchestral Manoeuvres in the DarkDazzle ship (14–18 NOW)Imperial War MuseumPeter BlakeArnold BennettPaul KleeGiorgio de ChiricoRené MagrittePhilip Wilson PublishersBehrens, Roy R.Camden Arts CentreThe StudioMayor GalleryArt UKLibriVoxCamoufleursLucien-Victor Guirand de ScévolaJean-Louis ForainLouis GuingotLoyd A. JonesJohn Graham KerrFranz MarcAlister HardyAndré MareKimon NicolaïdesSolomon Joseph SolomonAbbott Handerson ThayerMaximilian TochLeon UnderwoodEverett WarnerNorman WilkinsonTony AyrtonGeoffrey BarkasHugh Casson